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Reviews
What a Girl Wants (2003)
An American view of Britain?
'What A Girl Wants' narrates a series conflicts speeding to an inevitable explosion that could have been resolved by common sense communication. Vivacious young American Daphne Reynold's (Amanda Byne) comes to Britain to find her reserved aristocratic father Lord Henry Dashshwood's (Colin Firth) however her arrival come at a difficult time. Henry who never knew of Daphne's existence following the unexpected departure of her musician mother, Libby (Kelly Preston), is 17 years on newly engaged and has just declared his candidacy as Prime Minister of Britain. In some ways each character is reacting to his/her own uncertainties, the political expectations of Henry's upcoming election is a hard burden on a young girl still trying to find her self and wanting to know her father in a foreign land. This contrasts with Henry's carrying the weight of 6 centuries of family expectation. Following a series of social disasters, which the Press record effecting Henry's electoral chances, Daphne attempts to change her self artificially. In reality Daphne is never told she must change (after all, she could simply moderate her behaviour in public settings) whereas she crushes her vibrancy. Henry has to appease the expectation of a political party and the voters. He simply does not know how to say no, in reality he is not leadership material, but is blindly a puppet to his conniving adviser and future father in-law Alistair Payne (Jonathan Pryce) , fiancé Glynnis (Anna Chancellor), and future daughter in-law Clarissa (Christina Cole) who desire to be a part of the British establishment but are threatened by Daphne's presence. Added to the mix is a young friend Ian Wallace bitter at the establishment of which his mother had once rejected. Well intentioned, Ian lacks expects Daphne to drop everything. For example, he expects her to drop the Queens garden party and go to a concert.
It is loosely based on the 1958 comedy The Reluctant Debutante starring Sandra Dee. The play and 1958 screen play were written by William Douglas Home, the son of the 13th Earl of Home whose oldest brother was Prime Minister and 14th Earl Sir Alec Douglas-Home, and who was obviously in a position to understand British aristocracy. Sadly the movie seems to stereotype Britian, presumably with a U.S. audience in mind so much that it makes blatant cultural errors in its presentation. For example, when Henry resigns his candidacy as Prime Minister before the Party faithful British flags are spreadeagled behind him in anon British manner. In the Amanda Byres commentary it is revealed that any British person who saw this would be "upset" with it. Although not British, I felt that in criticising those who exploit society to get ahead, it perhaps unintentionally criticises British establishment for an American audience. In this respect it reminded me of Princess Diaries II dig at royalty. But then British films often have subtle send ups of American politics (e.g. Love Actually). Another humorous error is the claim made by Henry's mother Jocelyn Dashwood, Countess of Wickham, that the Dashwood family motto is 'Qui Patitur Vincit'(He who suffers conquers/He who conquers endures) or as she states "It means, ducky, hang in there and you'll rock!" It sounds good for the story, but in reality there is none! (Atleast according to the knights and heraldry website). Both Colin Firth and Amanda Bynes are perfect in their contrasting roles of uncertain, British idealism and American vivaciousness. I am particularly impressed with the performance of Eileen Atkins who plays the family matriarch Jocelyn Dashwood. In a scene consoling Henry she caresses him and yet also withdraws her hand advising him not to follow the family sacrificing itself to the battlefields of Europe lest he "sacrifice your heart, Henry." Her reservation of physical contact captures the essence of a conserved Brit.
The fears of parenthood are nicely expressed by Libby when Henry panics when their daughter unexpectedly goes out with Ian: Libby: "Strange how easy it comes isn't it?" Henry: "What?' "Worrying." "Does it ever go away?" "No."
On the other hand, I found the 'us and them' contrast between two cultures two obvious annoying, as I did the youthful lack of balance of the character Ian Wallace.
L'ours et la poupée (1970)
Clever, tempting and deliciously funny
Irresistibly tempting the socialite model urban Felicity (Bridget Bardot) duels her seductive charms against the baffling and equally determined country cellist Gaspard (Jean-Pierre Cassel) who refuses to return the compliment. Mostly played out at Gaspards country home over one evening, Nina Companéez and Michel Deville's plot allow both actors to display their versatility. Particularly appealing is one scene when Felicity has Gaspard act as a woman and she takes on the role of a man wanting to get his way with with 'her'. We see Bardot, always flirtatious, but strongly characterised and not just portrayed as a flimsy 'sex kitten' such as in "Les Novices'. When together, Cassal and Bardots performances are so palpably magnetic, that some scenes of them alone seem inferior. Totally absorbing.