Belle speranze

The paragraph describing this film said it was about a group of people who come together when Mum locks herself out. This is misleading as that is only a small part of the film , there is much more to it than that, I saw this film as part of a Mike Leigh feature on TV.

I straight away recognised Philip Davis who also stared in Mike Leigh's 'Grown Ups' even though it was 20 years earlier that I had seen that. He looked very similar but his character, Cyril was much better tempered than Dick had been. Cyril and his partner Shirley are the only ones who seem to care about poor old Mum. They are also kind hearted enough to help out a stranger who was lost and confused. Her other daughter Valarie appears to care more about her dog and her own life. The toffee nosed couple next door would rather leave the poor old women standing out in the cold when she locks herself out and don't want anyone to get in the way of their life.

This film lets us see that having money doesn't always mean happiness. Cyril and Shirley are much more contented than their richer neighbours and sister. They are also much less selfish. I would rather have them any day

Surprisingly, this is the first Mike Leigh film I have seen. and I am glad to finally be exploring his filmography since he has intrigued me for quite some time, and I am happy to say with full enthusiasm that my first Leigh movie watching experience was wonderful.

"High Hopes" is a slice of life type film in which there is little plot, but rather a series of events that serve almost as a two hour long snapshot taken at a very specific time in the main characters' lives. While there are many interconnected characters displayed, each with their own mini story arc that can range from light comedy to dark tragedy to somewhere in between, at the center of the film is a likable young couple. A political undercurrent runs throughout the final half hour of the film dealing with the state of England under Margaret Thatcher and the beliefs of a socialist and Marxist, which is all quite interesting even if it makes the film somewhat outdated (but, with me, that isn't much of a problem); however, the film, in the end, is no so much about politics and ideology, but more so about the human spirit and its many triumphs and failures, life and it's many ups and downs. I fell in love with some of the characters in this film, and always felt deep care and concern for them. One shot in particular will always remain in my memory; it is the haunting image of an elderly women on her seventieth birthday as her family explodes (not literally) into chaos behind her. We can only see the elderly women, and we can only hear her screaming, bickering family members under the melancholic sounds of the film's often bleak score. This fragile lady is left to do no less than stare into nothingness, a fragile victim of the world's evils. But...this film is not a hopeless tragedy; rather, it is a hopeful comedy in the end, for, in the end, positivity seems to conquer the tears and tragedies that plagued the film in earlier moments (although not EVERY character seems to receive a "happy ending").

This film is a(n often darkly) humorous look into the lives of some very realistic and unique individuals as they struggle and smile through life. It is a film about love, compassion, strength, weakness, loneliness, politics, society, intimacies, and more. A beautiful feat of comic and dramatic filmmaking that sadly remains overlooked and obscure to this very day; fortunately, Mike Leigh was still rewarded in later years with a reasonably successful and highly praised career made up of many movies critics claim to be masterpieces, many movies that I now cannot wait to get my hands on!

Of course the marketing people hype every movie like it's a cross between "Titanic" and "Wedding Crashers" but there is such a thing as a small lovely film and "High Hopes" is it. It's a comedy but nobody passes gas or accidentally drinks urine, so it's a cut above any comedy produced in the U.S. during the last thirty years. It's just about people, working class people in London trying to get by. But its got a good heart and the smiles it provides will stick with you longer than the brain-dead belly laughs strained over in Hollywood comedies. It just feels like real life. The actors don't seem to be acting. And you end up pretty hopeful regarding the human condition.

This is early Mike Leigh before he achieved that perfect balance in tone between critical and affectionate that distinctly marks his best films. Consequently, while there are wonderfully observed sad and funny bits (like the visit to Karl Marx's grave and the way the Marxist couple treats the lost waif in search of his mom) the main set pieces soon descend into undue caricature (the Yuppie couple in the gentrified housing block) or nastiness (the mom's 70th b-day party). Give it a B minus if only for Ruth Sheen's warm hearted performance that would foreshadow Alison Steadman in the later, better "Life Is Sweet".

The title of Mike Leigh's first film was "Bleak Moments" and he's been having them, on and off, ever since. Leigh's films are the comedic equivalent of the Theatre of Cruelty. The pain running through a Mike Leigh movie far outweighs anything 'funny'. You wonder why they are called comedies at all. And the pain is usually the pain of belonging to a family unit. In "High Hopes" the family unit is Edna Dore's almost catatonic London pensioner, her appalling daughter Valerie and her equally appalling husband Martin and her son Cyril and his partner Shirley. Dore's next-door neighbours are a couple of Sloane Rangers with a double-barreled name and if Leigh has a fault it's that he can't help lampooning Valerie and Martin and the snooty neighbours. (Valerie is a clone of the awful Beverly in "Abigail's Party"). These are cartoon characters and they don't ring true.

However Dore, who does virtually nothing, is quietly magnificent as the mother whose life has evaporated in front of her eyes and Philip Davis and Ruth Sheen are heartbreakingly real as the socialist son and the woman he loves but not enough to give her the child she craves. Indeed, Davis and Sheen give the kind of performances that seem to transcend mere 'acting' and which in a just world would be showered with prizes. (Sheen and Dore did win European Film Awards). In fact, everyone is first-rate even the caricatured neighbours and the lamentable Valerie. An uneven work, then, but when Davis and Sheen are on screen it's as good as Leigh gets.