shirley12vineyard Reviews

Karadayi (2012–2015)

1970s Turkey perfectly rendered

[8/10 · 30 August 2018]

Reading some of the others' comments confirms for me that unfortunately world-wide audiences of a particular country's screen industry forget to drop their own cultural spectacles for another pair for the vastly different sensibility that is conveyed - here Turkey. Also to realise that these dizi are a unique format. An English speaking 'westerner' just doesn't 'get it' always. Many 'southern-Europe-to-middle-eastern' ways of thinking are vastly different. The under-pinning of secular Islam is very enlightening, as fans who view a lot of this genre can attest; so much of that culture relates so well to the best life values. (Yet often there is no overt 'religiousness', bar the plain rituals of funeral and wedding.) It's so good to get a feel for all of these things. Marshall-ah! The family table; the emphasis on healthy eating, the daily courtesies, the patterns expected in the 'coupling' department, the tactile affection commonplace between siblings and family members,

Story-telling is so embedded, poetry is generally known and treasured and metaphor and allegory are everywhere in this part of the world, and in Karadayi. In my country anyone who drew attention to themselves gently to launch into an often poetic story, and to have the company s/he's with (usually his family) attentively loving it would be an oddity. The Persian, Sufi, Aramaic, Turkish, Arab and all the 'stahns' have a huge store of narrative. Long-windedness can be a put-down summation. We have to start by knowing that these TV dizi are not 'soaps' - they are tele-novellas with 2 or 3 seasons separated by and summer breaks. For impatient Anglo-celtics they can be too drawn out, but for me as someone who just isn't held by today's trends Sci-fi, or CGi, GOT, Block-busters or fantasy, there is gold to be found in Turkish drama. The ease of incorporating passion, sensory delight, sweet verbal exchanges perfectly expressed in ease of owning emotion and poetic sweetness. The de-sensitised "West' calls these attributes cheesy, cliche - sadly.

The technical expertise in Karadayi is to die for, settings, location always real (not parked out like the US/UK ones can be) - costumes perfect etc. Karadayi just won me over right at the start; amazing to see a 1970s setting in perfect detail; dial telephones, woolen overcoats, flared pants, snall family shops, tweed women's professional suits, non-skyhigh heels, American imported cars. I couldn't fault any of these aspects. And I'm surprised that no other comment has rejoiced in this. (No cellphones interrupting every 5 minutes as they do in the large number of contemporary urban popular dizi!).

There seems to an endless supply of gorgeous looking people in the cast but also the ordinary and unprepossessing. Kenan Irmilioglu is of charismatic looks, is tall and imposing with his co-star Bergutor Kolar a tall actor also, a perfect foil for her co-lead. Mahir is too noble by far perhaps, given as he is, to fiery anger often causing trouble. Cetin Tekendor is a veteran 'older person' with a 'centering' role in the story. But all the cast performs expertly. Netflix often start a sub-titled series off, but due to contract issues will often show only the 1st Season. The frustrated viewer must search for various server Groups ('Turkish Dramas with English subtitles' is a starting Google) which provide sub-titled versions which usually require a donation.

I give this series high praise - although I may find viewing all episodes for the full show's length a challenge as always there seems to be a too dense middle stage with more sub-plots and additional characters, adding twists and turns. But Karadayi has so much going for it it should be worth going the full distance.

Merhamet (2013–2014)

Unusually skilful series.

[10/10 · 29 May 2018]

Once one is accustomed to the Turkish series/dizi industry and understands that it is huge business with dozens of series running concurrently with massive competition for ratings, it is great to recognise when something has that extra brilliance. Given that audiences like some melodrama, plenty of emotions and rivalries, guns being popped out of suit pockets, anger and tenderness in contrast and invariably the presence of obscenely rich tycoons (often dallying in criminal fraud) and glamorous women who presumably do lift a finger to do a little work at times, it is possible that some very special stories can be found. That this series was based on books (which I have not read) doesn't necessarily guarantee good script-writing but the casting and script here is fine. There are some dashes of humour too.

Two distinct qualities in Merhamet are the heavy use of retro-recall; amber tones delving into past chldhood/youth life of the country town and its very deep-seated struggles, then the present story resolutions in 2013 Istanbul. Sometimes this seems to drag out, but later on it does offer important 'fill-ins' about what each of the lead couple andh several others had emerged from, before Istanbul days. The note states 1996. This is incorrect. It is 'the present' in 2013-plus.

The second dominant quality of Merhamet is that the lead actors earn the greatest commendation for their playing of double roles, teen-age and 30s adulthood - have not received rave reviews for the writing, acting and especially directing skills Magic. That Ibrahim Celikkol in real-life is a superbly-built handsome 30s+ aged man, could act and be assisted by excellent direction, and make-up/hair work convey accurate demeanour and persona as the naive, not-a-care-in-the world son of a very wealthy tycoon in their country ranch, and switch multiple times to wonderful effect as a presently successful Istanbul professional who for years had hollowness in his life because the love-life of his youth with Narin had totally vanished without trace. That is until Narin showed up by chance in top-end professional circles in Istanbul.

So much water had gone under the bridge and so much stress, grief and confusion had to be addressed if this erstwhile once so-loving late-teenage couple would ever re-capture what the audience could see is an essential outcome of the series. The actor playing Narin is illuminating. She from childhood is a top academic achiever, feisty, courageous, emotionally charged and desperate to do her best from way back for family, friends - often exhausting herself in the process. She goves a powerful characterisation. Expect plenty of raised passion in the voice - so be it! Sweetness is there too.

A wonderfully moving series, as long as cultural diverse nuances are embraced, as the audiences in this series (and all others in Turkey) are made for its own audiences who value much more dramatic, emotional story-telling - but experience over many dizi, has taught me to sometimes be alert for sometimes ambivalent Finales.

The look of Turkey, in every series I've seen, is like a Tourist advert for gorgeous Istanbul with Bospherus Suspension bridges, or the Maiden Tower from beautiful vantage points in every establishing shot, many foreshore scenes and various outpost destinations - contrasting with the country town poverty and simplicity. Many an overseas viewer might find themselves planning to visit this fascinating country. Let yourself be captured by this series.

Kis Günesi (2016)

An tender love-story amidst mayhem.

[8/10 · 29 April 2018]

As a devoted Turkish film and TV (english subtitles) obsessive, I've had to be a rational critic in accepting the the dizi from Turkey are not routine 'drama series' but rather a hybrid between soap (with truckloads of suds and interminable slo-mo gazing, dreaming etc) and a 'series' style which likely covers two years, unlike the endlessness of a English language soap.

The story of the identical twin boys who survived a murder-car crash at aged 7 (though one was believed to have died at the site) shows the two of them 20 years later in contrasting lifestyles and fortune in different areas of Istanbul. They met up at aged 27 in mutual astonishment but were only together for a few hours when Mete was shot. Renewed determination to find the perpretators had Efe immediately assume Mete's life, which included faking husband to his wife. There are layers and layers of crookery, greed, violence and black-mail as the narrative is based on a relentless hunt for the actual murderer/s. Yet Winter Sun is amongst the tenderest narrative of true love I've seen in a while, largely conveyed by Sukru Ozyildiz' rare charisma. What a performance, and what looks!

Turkey has a huge film/TV industry and multitudes of actors who as well as being fine performers are often to-die-for eye-candy. Typically the rich high-lifers of Istanbul live in sumptuous houses, no meal served is less than a banquet, and all the women wear standard sky-high heels 24/7 with mothers looking no more than 10 years older than their offspring - also in stiletto heels 24/7 - at home in which they appear to do not a tap of work. (Although there is the standard family of 'simple sweet folk' to appreciate in contrast. Crooks and nasties are linked up everywhere and new nasties appear too often and the writing gets bogged down - usually around mid-series.

This hybrid genre fails at the writers' table. Adding on more sub-story can seem a waste of time. Too many cliches roll out. (I almost screamed at my set at the "I am always there for you" countless times!) I read multi-viewer feedback and note that my dismay at how Turkish dizi end too often in tears is shared by many others. So I make no apology for sneaking a look (Netflix) at a final episode to see if the loved characters are 'intact'. Having done, I went back and 40 earlier eps. That tended to become a chore, as a typical drawn-out hostility/mistrust develops between people who we know really love each other. Sigh! After much wallowing, and dire nasty events there does come joy! Beautifully cast although the constant hair-handling by the lead woman seemed almost an tic. And the family-is-everything is to be literally everything, as love, support and cherishing apparently in Turkish narrative has to be infected with unbelievable nastiness and criminality with readily pointed guns, along the way.

Excellent camera work all around the wonderful Istanbul is stunning. Along with very beautiful hospital and even gaol interiors a tourism project seems to often be suggested as the great city's landmarks and vistas also show up very often and the country highways and outlying viillages are clearly genuine Turkey. This is pure joy!

The Age of Adaline (2015)

Just me perhaps - but the fantasy dimension didn't work

[4/10 · 4 March 2018]

This time I haven't scrolled through the Reviews, except to notice that the first few gave high rankings. I have to admit I found this Netflix film only from my wish to see Michiel Huisman again after my first experience of him in The Otterman Lieutenant - as a lover of romanticism (and of Turkey) who can suspend political-historical factism for the sake of a moving story. I realise The Age of Adaline gave much evidence of high quality filmic skills, but the plot/story was not for me. Ellis is a lovely man, and apart from the unlikely coincidences, the meeting and pursuing of Adaline (Jenny) was effective enough. That's about it.

I have no idea if the nerdy voice-over has any veracity or not, but it didn't convince me and I am never a target for fantasy-science fiction - even less so if it's dressed up as romance/love. (Maybe ET was an exception way back!) So sadly I have to give a low score. The logic from me is that I wouldn't recommend it to friends. Despite the fine acting, the sheer fantasy of it all didn't jell for me apart from a sort of satisfaction that it ended suitably.

The Ottoman Lieutenant (2017)

I loved this for what I saw it as

[8/10 · 4 March 2018]

I had this film come to my attention via Netflix. I'd shown an interest in all things Turkish having been an affectionate traveller there and enjoying the diverse people - most of whom (I met) adore the secular anti-Ottoman Kemal Ataturk's legacy, Many of my country-persons feel similarly since what we know as the ANZAC invasion (under Britain) in 1915. That is another story. . I viewed the film in a non-nerdy fashions, loved it as I happened to anticipate a bit of escapism and romanticism. The leading man and the 'triangle' love-story helped this! To my dismay many of the reviews latch immediately onto contemporary political points-scoring. I don't know why this engaging relationship in a scenically beautiful film can't be accepted for what it is. It is in the same genre as countless other 'good man in amongst awful war priorities and complexities' Casablanca, From Here to Eternity, numerous Brit films let alone US's frequent stereotyped heroics and Australia's Gallipoli.. A local 'hero' is permissible surely? Someone who is initially obedient but comes fo question his inherited professional career. How does that thread make this film an anti-Armenian propaganda piece?

And to dump the actress for her 'appalling American accent". Really? Her gentle voice-over added to the narrative - for me.

Overall I've found in my choices of Islam-based films that the innate 'let the woman choose' aspect of the passion such as the leads shared works fine in a piece of fiction. I replayed this to catch another look at the heavily criticised aspects. I stand by my first enjoyment!

The Red Thread (2016)

More than a simple hot romance

[8/10 · 8 December 2017]

I viewed this in the English subtitle version. It is not a heavily dialogued film. The title explains that a connection can visit upon (unbidden) a couple which becomes a life-long irrevocable link – from a notion combining a number of cultural nuances. Partway through the film an old women in a Chilean market spoke that thought when she observed the two leads together informally.

It meant little then to the pair and the viewers. At the close of the film a post-script explanation is given amongst the credits. I found that I was moved and caught up in the pair's lives from the early random meeting whilst waiting to board a flight - he a vintner from Argentina and she a Chilean flight attendant (she quickly put- down his reference to 'stewardess') We move quickly to him finding himself seated in the flight in which she is an attendant. He realises he is immediately attracted to her, and in his sleeplessness ends up in the staff booth……a few pleasantries later, a first passionate kiss occurs followed by a promise to meet post-Customs – all seems well.

But a hitch in proceedings means they simply could not find one another at that point. Each of them went on with their lives.

7 years later, they happen upon each other in another flight context; he by now is married with a daughter, she in a relationship similarly, has a son. Both partners are connected to media-entertainment so there is possibility that lives might cross.

The casting is interesting. I'm a devotee of 'foreign films' and have feasted on exotic productions through Festivals and Netflix. Latino film is always a feature and home-based film lovers in their 'feedback' often express their wish that 'love/passion' be overtly displayed (They feel cheated when say a Turkish series – no real lover-kissing is shown; display through eyes, voice and courteous hand-kissing is often what you get – or at most a tasteful Director's cut and fade!). The leading-man here is not a testosterone heavy dude at all but he plays this character sensitively for viewer empathy. The question for the viewer throughout is this truly the Red Thread of myth being expressed in this narrative. Sheer passion, instant steamy sex and mutual orgasms engulf the couple in the short hours they're together, with little said between them to suggest any profound meeting of minds. The difference in how the thread is experienced by each one is a strong theme in the film. One is deliberately non-lovey in words and demeanour, and the other is palpably needy and longing. Another parting occurs and again there is resistance (then yielding) for a re-meet, and the couple reach a denouement of the hard realities which won't be resolved simply.

A viewer should find the writer and director's work satisfying, and it leaves us pondering whether this was or is a real Red Thread. A top film for those who love passionate romance well acted and thought- provoking and some great screen shots of location.

Offspring (2010–2017)

Something to love-hate

[6/10 · 29 September 2016]

This offering has been on our screens for a few years but it didn't attract me till this year at series 5 (I think) so I thought I'd give it a go. 4 episodes in I was lured to go back to the beginning on Netflix. I now have a love hate relationship with it and have foreboding about whether I can genuinely offer a bouquet. As some have written, the quirky semi-comedy grates time and again. How can anyone be that dizzy yet be such a competent obstetrician?!

Also the long strung-out twists at every turn are invariably interrupted by incessant mobile phone calls!! It is a relief indeed, if someone can be still for 20 seconds and let viewers connect. It wouldn't be so exhausting! Hideous ring tones at that. Those who criticize the writing are on the button. Dr Chris is the hottest Australian male TV presence I've ever seen. Yet he wasn't really written for. Just brooding male sexiness, a bit of torso occasionally, but most lines had to be mumbled. Having come on board to a few of Season 5,then returned back to Season 1, apart from some hairstyle changes, I see no development in character with the exception of Billie, certainly not the main character. I'm a bit hooked but fear if i follow through, I'll sigh again that the writers have hung her out to dry and I'm never going to see Nina "get herself sorted."

The Eagle Huntress (2016)

Inspiring, heart-warming and hugely mind-widening for any 'westerner'!

[10/10 · 17 September 2016]

What can I say more than the reviewer/user prior? This is truly a wonderful film. I saw it on the last day of our International Film Festival and somehow the word must have 'got around' as the cinema was well filled! As the previous writer noted, the relationship between the locals and the film-makers must have been excellent. I noted carefully the credits on its conclusion and most seem to be Euro/Anglo names - again interesting, that alone adds credit.

The blurbs prior made much of the negative attitudes of the traditional people, but a tremendous joy of this film is that the father was totally behind and with his 13-yr old all the way. The empathy and shared loved of the task and each other was greatly inspiring. He was a tremendous teacher. The context of the piece with its daily and dramatic challenges with almost none of 1st World intervention (okay - they had trucks, wore jeans, sweat-shirts etc at the school, but today nowhere in the world is cut off from some 'western' features, is it?) I think one class shown was in beginner English.

A viewer should not miss the deep but never forced spiritual/religious impetus. Is this part of world of 'old Islam' does anyone know?

Witness (1985)

Truth and integrity

[10/10 · 15 May 2010]

I loved this movie. Perfectly paced, and every performance exactly nuanced. Clever writing too. I'd wonder how the general attitude in the US might have been at the rather shocking corruption in the Police. I need to view it again and note when John actually realised that the Boss cop was seriously bent as well as the perpetrators who the lad had seen. Book certainly hadn't discerned this, at the time of reporting to him at first about the bathroom murder.

Harrison Ford is masterful in his actor craft in this film. It helps too that he has a naturally 'tortured' facial expression! The decision to seem to be "a fly on the wall" with many of the Amish scenes, and the decision not to sub-title the quite long passages of dialogue in the German dialect gave an extra layer of authenticity to the movie. Today's gender equality mores were somewhat challenged as the big day - putting up the barn - took on a choreography bordering on ritual; men bonded in the great task; women glided about re-filling glasses of juice and serving good food in deeply joyful respect of their men's work.

A very engaging, at times scarily tense in thriller style, with a great balance of male-female tenderness with nuances deeply respectful of the Amish' values. A terrific movie.

Absolution (1978)

Somewhat Hitchcockian?

[8/10 · 19 January 2009]

I came upon this movie after it had already begun. I couldn't find the programme listing - so was completely 'at sea' as to the genre and mode for a time. Now, having read others' comments I can offer a different slant. My 'start' was around the time when two priests were talking, and referring to (Dyson?) needing extra care as he was vulnerable - and shortly after Benji pressuring Fr Goddard to hear his confession in the priest's study (usually a no-no) regarding his meetings with the seriously weird Billy Connolly character and his voluptuous lady. For a time I felt there was a Hitchcock-like parody running - the sound-track music seeming to be bordering on comic-horror. Viewing with today's (2009) sensibilities had me wondering if we were going to be traveling to the dire domain of sexual abuse so much a feature of recent RC 'outings' in real life, and for me for a time then added to serious tension. Of course there was no such sub-plot; Goddard was a 'true-blue' pre-Vatican II priest - a desperate "keep me constant Lord - keep me constant!" his prayer in times of dire temptation to stgrike back at his tormentor/s.

I had never heard of this film - but was lured to stick with it because of Richard Burton - granite-like and deeply troubled from the first take. The plot twists were rather tortuous, and I didn't pick up the impersonation going on in the confessional, so was greatly caught up in the last plot movements.

I agree with commentators that some of the filming tricks struck exactly the right note. The sequences in the woods were seriously spooky with their blurred shadowy nuances of being followed.

The colouration plan was obviously meant to be monochromatic with only 'splash' instances of colour? i.e. inside the school and the character's hair and skin tones are quite black/white - with the priestly stole singularly purple, and outside of course, green was truly green.

I rate this movie much more highly than most. At the very least it is of distinctive genre, keeps you viewing (past the small hours) and displays the legendary Burton still able to strut his thespian stuff with the best of them.

The Queen (2006)

Fine film but for a glaring and grating mis-match.

[8/10 · 5 January 2007]

I agree with most comments that this is a quality film, and surprisingly affecting. But to cut to a strong criticism which I've not noticed yet anywhere else - I think they (Director and/or Helen Mirren) got the body-line and walk ludicrously inaccurate. Presumably Helen was somewhat padded to give the overall 'well-covered' shape of her Majesty - but some of her clothes seemed ill-fitting (the Queen's never are, are they?) and Helen's thick legs (real or padded?) look nothing like the relatively slim pins of Elizabeth. Worst of all was the Mrs Plodd quarter-to-three walk - good grief! it was so distracting, almost embarrassing. Why was this allowed through? It took away an otherwise almost perfect connectedness of actress' craft and the living character she portrays.

Were my partner and I the only people who noticed this oddity?

Grease (1978)

A confusingly irritating bit of fun - concealing a surprisingly values-zero ethos

[3 June 2006]

Wonderfully light-hearted viewing one suspects, of the spoof genre, until one is forced to admit that the 'morality' and values would be the antithesis of what we say we'd like our kids to emulate. (And young teens don't get spoof this pretty). Anyone who loves dance will get a buzz with the choreographic sequences, and the film is delightfully satirical in parts. Yet it came as a shock to re-view for this writer in the presence of sub-teens, realising the presence of an in-your-face back seat copulation episode, resplendent with appropriate grunts - that makes it seem odd that Grease is a universal choice of light movie viewing for youngsters. Superficial in the extreme - why for instance (how, actually?) can Sandy give away her 'sweet innocence' just to get the Travolta guy? And notwithstanding the driving off into the clouds satire at the end, why does an empty-headed strutting jerk like Danny get the girl because she has tossed her lot in as a tarty leather-clad T-boy groupie?

As for the cigarette product placement. We've gotten used to this ploy in John Travolta's choice of film roles in the decades. (i.e. ploy or crutch?)

The Queen of Sheba's Pearls (2004)

Very engaging; enough complexity to leave you mindful that cinema doesn't have to "tie up all loose ends"

[9/10 · 12 September 2005]

With some hesitation ('Please, not another Brit time-warp experience!') and having recently attended Ladies in Lavendar, with its near-similar historical time-frame, related West-country locale and understated realism of rural mid-20C buttoned-up Britishness - this film could have flopped for this movie buff. (There was a 'foreign' stranger in that movie also!) It didn't. I was quickly alerted at the start with the vertigo-inducing camera pans, setting the cross-nation premise. Apart from the almost-too-real gloominess of mid-century interiors I loved this movie. Fortunately we got outdoors enough to let the sunlight in.

Billed as a comedy-drama, the funny bits were often subtle, sometimes laugh-out-loud, usually juxtaposed skilfully against parallel action. There was enough darkness and complexity throughout that a viewer knew some surreal touches would endure. Cheesiness was not going to rule. Terrific writing, including great cameos of English boyhood-girlhood; wonderfully acted by a stellar cast; brilliant slice-of-history realism and a leading lady who is remarkably reminiscent of the late great Ingrid Bergman...identical smile and eyes, and that same voice! TQOSP kept me musing and reflecting for some hours after. Strongly recommended.

Hotel Rwanda (2004)

A gift to the art of cinema

[10/10 · 26 August 2005]

I have read many of the responses and have no more to add other than to share how sobering it is to realise that, as we're in midst of general elections in this country, how our preoccupation with utter trivia (like how many extra discretionary $$'s we'll be better off if we give our vote to this or that party) pales into shameful embarrassment that our preoccupations are so trivial to a degree that's cringe-making.

I offer an addition to the many perceptive observations made, as there is one that stays with me above all, after sitting still gripped by the impact, through all of the credits with that wonderful singing, and it is this...

Darwinism has much to answer for, the 'ism' not Charles. The judgement made by the colonial powers, that one grouping was 'finer', more dignified, 'superior' - because of perceived 'fine points' of looks or body shape.....fine nose, taller stature ... whatever, let alone skin colour. The Belgians decided that the Tutsi's were 'the finest', and set that in privilege and in history. Other Euro colonials did no better, and if we're truthful we who should know better in the white West still hold these shameful stereotypes.

When gifted with the opportunity to observe how a relatively non-attention seeking individual met the challenge to do inspirational good, it give me pause for thought and perhaps a re-arranging of my priorities as a citizen of this planet.

Thankyou to the wonderful team who brought this masterpiece to the world. Clare K

Japanese Story (2003)

Stays with you long after

[8/10 · 16 May 2005]

Serious spoiler included. I agree with most comments, although plot-wise I wasn't sure if we were supposed to understand that the track they took was actually a deviation from the original plan (because Hiro wanted to see a particular other location?) Any reservations about Collette were I guess scripted, such as her idiosyncratic mouth movements, which perhaps served to underline that she was not your conventional sexy chick. Glad to see the discussion about the pants! (Still no wiser though, but thanks for the contributions guys.) But am I the only one who wondered why when she pulled Hiro out of the pond, she didn't immediately start CPR - or something!? That was the worst part for me...I felt anxious and kept (stupidly) thinking he could have been resuscitated. To add another carp at the story-board, we were obviously not expected to wonder why he actually did drown - it wasn't as if the water was shallow, and I thought everyone was capable of treading water, at least for a minute or two. But these are nitpicks ... proving my point that the movie stays with you long after the finish, which I must say also left me much more saddened than I've usually been after a 'sad movie'. Perhaps the inscrutability of the widow in the final scenes added to the awfulness of the outcome of a simple tale of encounter and connection.

Nice one you Aussies!

Brief Encounter (1945)

An intriguing mix of the timelessness of the theme with the utterly time-specific weirdness of 'received British' voices and mores.

[8/10 · 16 April 2005]

A spoiler can't apply here, as the title gives the show away. Viewing this film in 2005 is an experience. Firstly, to be reminded that 'class' Brits really did speak (then) like these main characters (the sheer speed of that RB speech for a start) against the pervasive time warp for this viewer raised in far away New Zealand. Decades rolled back and I recall how many older acquaintances 'way out here' simply LIVED for these British treasures, just loving the sheer clipped classiness of them all. Against that is the still relevant timelessness of an unsought, unexpected event of two people already married falling headlong into a 'true love' but which in today's 'freedoms', would be relatively OK to go along with, and never mind the fall-out of 'broken homes' etc.

As historical evidence it is almost surreal to be reminded that middle-class women really did lead such challenge-less lives of 'duty' in this case to a suit-wearing but always kindly husband and a child, and the train trip to town to shop, have lunch, and go (alone usually) to a movie was the uplifting event of the week.

Despite the uncomfortable reminder that this really was how dutiful middle-class Brits (and others) expected to live their lives, David Lean with Noel Coward's material transcends the unbearably mundane to an absorbing viewer engagement that lasts many hours after. Despite the inevitability of the outcome being signalled through the technique of voice-over protagonist recall, I couldn't help being drawn into the minutiae of the life-changing encounter, nurturing an empathy right through that something good just might happen to bring around a happy ending.

I learnt later that this was filmed whilst World WarII was still going on, but the war forms no part of the narrative, and the location was a single railway centre in a small township apart from London and any possible sounds of war.

Absorbing, engaging and memorable. Celia Johnson is the stand out star.