>>REVIEW
VENUS
STARRING Peter O’Toole, Vanessa Redgrave and Jodi Whittaker
DIRECTED BY Roger Mitchell
Opens Friday, January 26
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Far from being a creepy depiction of a dirty old man lusting after a nubile young girl, Venus is an expertly nuanced and tender depiction of the surprises life can toss our way.
Maurice (Peter O'Toole), a septuagenarian bachelor and highly esteemed actor accustomed to Shakespearian roles is in the twilight of both his life and career. When his partner in pill-popping and scotch-swilling, Ian (Leslie Phillips), learns his grand niece is coming to stay with him, their romantic imaginings of a doting nursemaid are quickly and rudely dismissed by Jess (Jodie Whittaker).
Her guttural dialect and crass demeanour unsettle both men initially, but Maurice with his vast experience of delving into the female psyche, sees something more. When he offers to help the snarky, but beguiling girl get a modelling job, her hostile temper is tamed by the prospect of making it big.
The ensuing tenuous relationship is both comedic and tender. Despite the inevitable physical shortcomings brought on by age, Maurice continues to lust after Jess's supple body. He soon dubs her Venus after introducing her to a painting of a nude model that evokes the passions of man.
As he reveals through an Oscar-worthy soliloquy how a man in love truly views a woman's body, we see a change in Jess as she realizes her own potential. Whittaker is enchanting as the snappy woman-child and shows no signs of being rattled among the cast of thespian legends.
Ian, the prickly drama queen is part jester, part tragic figure as he remains baffled and slightly terrified by his relative. His scenes with Maurice and their third, Donald (Richard Griffiths), are ripe with companionship and clever dialogue. As Maurice's bedraggled yet enduringly devoted ex-wife, Valerie (Vanessa Redgrave) sees through all Maurice's tricks and understands him better than anyone. Redgrave's brief but compelling performance ensures she will retain her rightful place as an actor of incomparable talent.
Hanif Kureishi's script is rich in human commentary, providing the kind of dialogue that crackles with universal insights and expertly timed humour. Roger Michel's direction is impeccable and gentle – there isn't a moment of wasted celluloid as the narrative moves along with well-paced ease.
Ultimately, this is more than an unlikely love story – it is an ode to life, dedication and the necessity of human connection. |
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