The Party (2017) is a English movie. Sally Potter has directed this movie. Timothy Spall,Kristin Scott Thomas,Patricia Clarkson,Bruno Ganz are the starring of this movie. It was released in 2017. The Party (2017) is considered one of the best Comedy,Drama movie in India and around the world.
To celebrate her long-awaited prestigious post as a Shadow Minister for Health and, hopefully, the stepping stone to party leadership, the newly-appointed British opposition politician, Janet, is throwing a party for friends at her London flat. Of course, in this select and intimate soirée, apart from Bill, Janet's self-denying academic husband, the elegant hostess has also invited a motley crew of elite, hand-picked guests: There's April, the sourly cynical American best friend; her unlikely German husband, Gottfried; there's also Jinny and Martha; and finally, Tom, the smooth banker in the impeccable suit. But inevitably, before dinner is served, the upbeat ambience will shatter to pieces, as festering secrets start surfacing, turning the otherwise happy event into the perfect domestic war-zone. Undoubtedly, after this night, things will never be the same again.
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Stellar performances, 9/10 script (there is a little bit lacking in the ending), and an overall likability to all the characters. For the first time in a long time I felt like I needed to post a review, because it felt like my view wasn't represented. If you liked Carnage, this is for you: This is a tightly wound, small play, made for screen. The bonus of having close-ups and a definitive, select final cut, made this a real treat.
Shot in black and white and clocking in at just over an hour, it is one of the more original movies coming out of the Berlinale. Several elements stand out, like the production design by Carlos Conti (37°2 le matin) with its odd, detached feeling bringing to the movie, but also the daring cinematography by Aleksei Rodionov (Idi I smotri, Orlando!) combined with good editing makes the movie work. So nice work in all sectors, but basically it is the actors who have to carry through in this dark comedy, somewhat difficult to define: Third screwball, third Woody Allen, and a third Britcom but definitely with a style of its own. Potter herself gave the best synopsis by calling it a movie about ideals and convictions getting tested in a crisis situation. The really good script lines are dispersed among the excellent cast, although I do have a weakness for the role of Timothy Spall, such a great and modest actor, gripping the movie from the start onwards. Why not rate this higher? I think it lacks a really great ambition, it is a nice ensemble piece, but despite the good things feels somewhat empty, more entertainment than art. The sum of the parts just doesn't add up enough for me, which often means the difference between OK and excellent.
This was so bad it was good. We were 11 minutes into this when my wife first said to me: "This is rubbish". I tried to defend it on the basis that it could only get better. I expected that the film would become more subtle as events unraveled. I expected my expectations to be confounded. I was mistaken. The film starts off with the subtlety of a sledgehammer and becomes ever more preposterous thereafter All 7 characters are unlikeable. Every character is a two-dimensional stereotype: The banker snorts coke (natch); the pregnant lesbian wears dungarees (to a posh party); The ageing lesbian is a professor specializing is some niche of feminism; there's an ageing hippy (who spouts about broken Western medicine); every female character is extremely high achieving and they pepper most of their dialogue with references to strong women and post-post feminism; the men are all buffoons. It's all so wearily 2017. I hoped these lazy stereotypes would be thrown off as the film progressed, thereby confounding our - i.e. the viewers - lazy pigeon-holing. Unfortunately, the clichés remained in place until the bitter end. The dialogue is execrable: these people are friends yet they talk to each other with contempt. April (Patricia Clarkson) cannot talk without directing a scathing insult to whomsoever she is addressing. Yet, no one ever picks her up on it: they either ignore the insult or respond with a feeble defence that enforces the cliché of their character. At one point, there is an attack on the profession of the banker. Just in case some viewers wanted further confirmation as to how morally high-brow this film really is. The story is contrived beyond belief. It's trying way too hard to be clever. This film marks the high-water mark of the liberal elite.
We got a black and white movie with a lot of dialog. Depending on if this is a turn-off or not, I reckon you'll continue reading. This drama has some very fine acting in it, with a very tight script. This played at a couple of festivals, which makes sense if you think about the quality of the material. It may feel a bit like a play (haven't searched the origin of the screenplay to tell you the truth), but it's a pretty fast paced one. That does not only ring true of the dialog speed, but also how the story and certain reveals go forward. Some things may be predictable, but if you haven't seen the trailer I reckon there will be enough surprise twists and turns waiting for you. A quality movie that keeps up a solid suspense ...
The middle-class dinner party in which the thin veneer of polite society is ripped away to expose the dog-eat-dog savagery underneath has provided ample fodder for playwrights since probably the birth of theatre, but films in which such a gathering is the sole focus are rarer. So step forward British auteur Sally Potter. Having been appointed Shadow Minister for Health, Janet (Kristen Scott Thomas) and her husband Bill (Timothy Spall) throw a celebratory dinner party for their friends: the acerbic April (Patricia Clarkson) and (played by Bruno Ganz) her new age partner Gottfried ("prick an aromatherapist and you'll find a fascist" says April); lesbian professor Martha and her 'Masterchef' runner-up partner Jinny (Emily Mortimer), who is carrying their purchased foetuses ("babies are born every day, in large numbers - large enough to put our planet at risk" is April's unsentimental but accurate comment). Banker Tom (Cillian Murphy) arrives with his wife's apologies: she will be along later. Thus the stage is set, but when a champagne cork shatters a window it is an omen that this will be a dinner party none of the attendees will soon forget. Trendy lefties who spend too much time thinking are an open goal when it comes to comedy, with their talk of 'post-post-feminism' and their professorships in Utopian Americanism, and Potter does not miss the target in her - I suspect affectionate - mickey-taking. There is nothing original in this - not even the 'twist' at the end - but the film is so entertaining that does not matter (with one exception: when banker Tom heads to the bathroom to snort cocaine I rolled my eyes - just once I would like to see a fictional young banker who *does not* have a coke habit: don't any of them simply put the kettle on?) There is good acting all around: Clarkson gets all the best lines - albeit at the expense of depth of character - but that merely makes the others work harder with the lines they have been given. Thomas, whose character is the most fully-formed, is noteworthy. At just over seventy minutes this is rather a short film. Quite why Potter decided to make it in black-and-white I do not know - extra filmsnob points I suppose. But it is hugely entertaining and I look forward to seeing it again. (After all, any film which lists in the credits 'production dog' *must* be good!)