Knight at the Movies Archives
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Two different posters for Venus trade on the film's obvious assets; O'Toole and the object of his desire, Jodie Whittaker
In Venus, Peter O’Toole has been handed one of those last hurrah roles that is virtually guaranteed to win the aged performer a
final roar of acclaim and respect as well as at least an Oscar nomination. Edith Evans in The Whisperers, Richard Harris in The Field,
Geraldine Page in A Trip to Bountiful (who won the Oscar for her performance), Gloria Stuart in Titanic, and last year’s Joan Plowright in
Mrs. Palfrey at the Claremont are but a few of many examples of other actors lauded for “last hurrah” roles. These films are by nature
deeply sentimental; rely heavily on the audience’s humorous appreciation of the septugenarian’s willingness to spout profanity, and
usually work because the performer in question is utilizing a lifetime of acting tricks to pull off the material.
If I’m in a certain frame of mind when I first see the movie in question then I’m a sucker for both – which is why Page’s work in
Bountiful always chokes me up while Harris’ in The Field doesn’t bear repeat viewings. As for O’Toole in Venus, who, not surprisingly,
pulls out all the stops, I veered toward the latter. But those who’ve longed to see yet two more variations on Harold & Maude and
Gods & Monsters, both which this picture commodifies, head for the movie queue.
At the outset of Venus, which is set in London, we meet O’Toole as Morris, an aging roué who has had a somewhat significant acting
career. Morris, still game well into his emeritus years, is still at it (the adage is true – for the creative arts there is no such thing as
retirement). Morris takes a pratfall almost as well as Chevy Chase in his SNL years and has an innate irresistibility to women of all
ages (he proudly describes himself as “a scientist of the female heart”) undimmed by his advancing years.
Morris hangs out at the local café reading the morning’s obituaries, verbally sparring and gossiping with his other elderly performer
friends, Donald (Richard Griffiths) and most significantly Ian (played by Leslie Phillips who may be recognizable because he provided
the highly distinct voice for the Sorting Hat in the first Harry Potter movie). On occasion Morris stops in to see the wife (Vanessa
Redgrave) he left behind years before for other women. These actors are a dream to watch and their adroitness with the natural
sounding dialogue (courtesy of Hanif Kureishi who also penned My Beautiful Laundrette and Sammy and Rosie Get Laid) is a pleasure to
listen to.
Then in walks The Plot in the form of the sullen, irascible young Jessie (Jodie Whittaker) who has come to look after Ian, her elderly
relative and try to make a go of it as a model in the big city. Jessie is a teenager so antisocial that she can’t be bothered to
mention her name or even say “Hello” when Morris meets her for the first time. Though Ian finds the young woman a horror, Morris
is determined to draw out the difficult Jessie and sets about to do so. We have discerned that Morris still has a vitality that is lacking
in the others and that he is not at peace with himself and getting through to Jessie apparently is his way of dealing with the
approaching Final Curtain.
Soon the aging Professor Higgins is tutoring his begrudging Eliza, taking her around to art museums, out to dinner, offering her
beer, the gift of a black dress, and showing a willingness to go nightclubbing and pay for her to get tattooed. Morris also tries to
convince Jessie to work as a nude art model, partially so he can get a gander at her comely body. In exchange, Jessie slowly allows
Morris to come closer both physically and psychologically. As the relationship between the two loners progresses and the inevitable
dance along the seaside nears, a young, crude suitor for Jessie complicates matters as does Morris’ declining health.
O’Toole’s performance is not exactly delicately shaded (nor is Whittaker’s) but with the material at hand, who would expect
otherwise? Director Roger Michell, most noted for the over the top but likeable Notting Hill and the over cooked Changing Lanes has
directed in Venus (the title refers to Morris’ nickname for Jessie) a paint by the numbers dramedy that is familiar and rewarding – if
you’re in the mood for familiar and rewarding. Corinne Bailey Rae contributes mournful, original songs that help the mood of the
piece.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Chicago Area Film Note:
Jonestown: The Life and Death of Peoples Temple, the riveting documentary about the religious cult created by the infamous Reverend
Jim Jones and heavily populated with African Americans, gays and lesbians and other disenfranchised Americans, returns by popular
demand to the Gene Siskel Film Center (where it had its Chicago premiere last November) for an encore presentation Friday, January
19th through the 25th. The fascinating rise of Jones’ ministry, its close links with the gay and political community in San Francisco
where the group eventually settled, and the tragedy of the cult’s abrupt demise via a mass suicide in the jungles of South America in
November of 1978 is retold with newly discovered footage and audio tapes. This excellent film is also the rare documentary that
doesn’t editorialize. www.siskelfilmcenter.com
final roar of acclaim and respect as well as at least an Oscar nomination. Edith Evans in The Whisperers, Richard Harris in The Field,
Geraldine Page in A Trip to Bountiful (who won the Oscar for her performance), Gloria Stuart in Titanic, and last year’s Joan Plowright in
Mrs. Palfrey at the Claremont are but a few of many examples of other actors lauded for “last hurrah” roles. These films are by nature
deeply sentimental; rely heavily on the audience’s humorous appreciation of the septugenarian’s willingness to spout profanity, and
usually work because the performer in question is utilizing a lifetime of acting tricks to pull off the material.
If I’m in a certain frame of mind when I first see the movie in question then I’m a sucker for both – which is why Page’s work in
Bountiful always chokes me up while Harris’ in The Field doesn’t bear repeat viewings. As for O’Toole in Venus, who, not surprisingly,
pulls out all the stops, I veered toward the latter. But those who’ve longed to see yet two more variations on Harold & Maude and
Gods & Monsters, both which this picture commodifies, head for the movie queue.
At the outset of Venus, which is set in London, we meet O’Toole as Morris, an aging roué who has had a somewhat significant acting
career. Morris, still game well into his emeritus years, is still at it (the adage is true – for the creative arts there is no such thing as
retirement). Morris takes a pratfall almost as well as Chevy Chase in his SNL years and has an innate irresistibility to women of all
ages (he proudly describes himself as “a scientist of the female heart”) undimmed by his advancing years.
Morris hangs out at the local café reading the morning’s obituaries, verbally sparring and gossiping with his other elderly performer
friends, Donald (Richard Griffiths) and most significantly Ian (played by Leslie Phillips who may be recognizable because he provided
the highly distinct voice for the Sorting Hat in the first Harry Potter movie). On occasion Morris stops in to see the wife (Vanessa
Redgrave) he left behind years before for other women. These actors are a dream to watch and their adroitness with the natural
sounding dialogue (courtesy of Hanif Kureishi who also penned My Beautiful Laundrette and Sammy and Rosie Get Laid) is a pleasure to
listen to.
Then in walks The Plot in the form of the sullen, irascible young Jessie (Jodie Whittaker) who has come to look after Ian, her elderly
relative and try to make a go of it as a model in the big city. Jessie is a teenager so antisocial that she can’t be bothered to
mention her name or even say “Hello” when Morris meets her for the first time. Though Ian finds the young woman a horror, Morris
is determined to draw out the difficult Jessie and sets about to do so. We have discerned that Morris still has a vitality that is lacking
in the others and that he is not at peace with himself and getting through to Jessie apparently is his way of dealing with the
approaching Final Curtain.
Soon the aging Professor Higgins is tutoring his begrudging Eliza, taking her around to art museums, out to dinner, offering her
beer, the gift of a black dress, and showing a willingness to go nightclubbing and pay for her to get tattooed. Morris also tries to
convince Jessie to work as a nude art model, partially so he can get a gander at her comely body. In exchange, Jessie slowly allows
Morris to come closer both physically and psychologically. As the relationship between the two loners progresses and the inevitable
dance along the seaside nears, a young, crude suitor for Jessie complicates matters as does Morris’ declining health.
O’Toole’s performance is not exactly delicately shaded (nor is Whittaker’s) but with the material at hand, who would expect
otherwise? Director Roger Michell, most noted for the over the top but likeable Notting Hill and the over cooked Changing Lanes has
directed in Venus (the title refers to Morris’ nickname for Jessie) a paint by the numbers dramedy that is familiar and rewarding – if
you’re in the mood for familiar and rewarding. Corinne Bailey Rae contributes mournful, original songs that help the mood of the
piece.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Chicago Area Film Note:
Jonestown: The Life and Death of Peoples Temple, the riveting documentary about the religious cult created by the infamous Reverend
Jim Jones and heavily populated with African Americans, gays and lesbians and other disenfranchised Americans, returns by popular
demand to the Gene Siskel Film Center (where it had its Chicago premiere last November) for an encore presentation Friday, January
19th through the 25th. The fascinating rise of Jones’ ministry, its close links with the gay and political community in San Francisco
where the group eventually settled, and the tragedy of the cult’s abrupt demise via a mass suicide in the jungles of South America in
November of 1978 is retold with newly discovered footage and audio tapes. This excellent film is also the rare documentary that
doesn’t editorialize. www.siskelfilmcenter.com
The Last Hurrah:
Venus
1-17-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
Venus
1-17-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
