Director John Madden (Shakespeare In Love; Prime Suspect; The Adventures of Sherlock Holmes) does a masterful job with the development of the individual and group of characters in this adaptation of Deborah Morgaach’s novel, “These Foolish Things.” The overarching theme in this film does in fact delve into the complex reactions of individuals who have moved into their “twilight years” and the accompanying struggles to remain vibrant and relevant in a world ever more revolving around the young. More importantly this film addresses issues of bigotry and how connecting individual to individual can erode bigoted beliefs; daring to dream and fighting for those dreams – at any age; the role fear plays in failure to embrace change and the reluctance to expand one’s horizons; the courage it takes to stand up to society as well as the well-meaning but often suffocating control and expectations family imposes on its members; and the oft worn but unflaggingly truth that it is never too late, or too early to declare love and embrace life, no matter the personal risk.
Tom Wilkinson’s subtle portrayal of a well-respected jurist who is tormented by the long-lost love of a young man from his youth in India and his mistaken belief that he was the cause of his friend’s unredeemable shame and ruin is a palpable reminder that often what is imagined is so much worse than reality. His ability to lay open his personal pain to his new found acquaintances and their freely given support and absence of judgment are refreshing and poignant.
Penelope Wilton as Jean Ainslie is a terrific rendition of a singularly unsympathetic character, who juxtaposed against the rest of the ensemble who manage to survive and thrive in their unfamiliar surroundings, remains absolutely in character and unbending in her hatred of all around her, including her loyal and unendingly patient husband of 40 years. Yet she is the spouse who recognizes and has the ultimate courage to make plain that their union is over. She has no difficulty in choosing her luggage and her desire for creature comforts over moving forward in her marriage while her long suffering husband (Bill Nighy as Douglas Ainslie) cannot on his own bring himself to walk away from his loveless marriage and the miserable person his wife has become.
The development of Maggie Smith’s character from a bigoted and “ugly Brit,” into a caring and revitalized woman is done with a remarkable patience not often seen in modern films. Smith’s character finds a renewed purpose in life as she embraces the young Indian characters fighting against the entrenched caste system and the suffocating family traditions that nearly sink a young man’s dream that is this phoenix of a hotel. Producer Graham Broadbent’s and Director Madden’s willingness to take adequate time to let us witness the evolution of a character rather than attempting to make us believe long held prejudices disappear without struggle, in moments of epiphany, is a gift.
This is not Cocoon nor is it Slum Dog Millionaire. It is a movie worth seeing – chock full of reminders why adversity hones character; that true peace of mind is attainable; and why life is worth living – regardless of one’s age.
Review by: Pamela Leslie
