A Good Year [DVD] [2006]

A wonderful story, gives a ‘ feel good’ relaxed feel.

Good film

Max Skinner (Russell Crowe) is a London uber-trader. But his latest money-making spree on the markets has found his company under investigation and himself on suspension. Meanwhile, his uncle Henry (Albert Finney) has died, leaving him a large house and grounds, not to mention vines, in Provence. All Max sees in this rambling French property is a money-making opportunity, but as he stays, the sunshine, wine and the eccentric locals, not to mention the love of Fanny (Marion Cotillard) unlocks the sensitive man locked away in the belly of the Capitalist beast.“The secret of comedy is timing.” If you’re writing what is essentially a romantic comedy you have to have some confidence to include that line of dialogue, not just once but twice. On its cinema release, A Good Year (based on a novel by A Year in Provence writer Peter Mayle) received a kicking, for reasons that certainly have justification. This is a light comedy directed by a man and starring another man who are neither noted for their light comic touch. Even without that aspect to the part, Russell Crowe is miscast. The film is only moderately amusing, and obeys my rule of thumb about comedy in that it is overlong by the amount it exceeds ninety minutes. It’s also relentlessly predictable. Yet I couldn’t bring myself to dislike this film, possibly because I didn’t trek through November weather to spend over seven pounds to see it at my local multiplex. In less demanding circumstances, say after lunch or in an early evening on television, with the three F-words removed, this could be pleasant enough viewing, with a glass of wine or two to put you in the mood. And if you nod off now and again, that won’t hurt too much.A Good Year has the air of an indulgence for Ridley Scott, who has lived in Provence for some fifteen years. Scott has proven himself too erratic to be a truly great director: he’s a great – and very influential – visual stylist whose Achilles heel is the story and script. His best films have been made from the best scripts, but when the foundations are weaker, he flounders. Marc Klein may defend himself in the commentary in that he says that all the national stereotypes are true, but that doesn’t excuse the fact that most of his characters are so thinly drawn that they are only stereotypes. And when you have to rely on a pissing dog and Crowe falling into a disused swimming pool filled with fertiliser, you’re in trouble. Whatever you may say about Hugh Grant and Richard Curtis, as Kevin O’Reilly says in his cinema review on this site, you only have to imagine what they could have done with material like this to see how Crowe, Klein and Scott miss the target. Another problem is that Crowe’s character seems a make-believe city trader than a realistic one – you doubt that such people, who don’t have time for weekends or holidays, would be likely to read at all, let alone a demanding read like Death in Venice. (And that’s hardly likely reading for a ten-year-old.) Crowe tries his best, but he can’t square the circle that the script asks him to. Albert Finney gives a pleasing performance as Uncle Henry, who appears in a brief prologue with Freddie Highmore as young Max and appears in a series of flashbacks, the last of which has a mild surprise. Other actors give solid performances, including Kenneth Cranham as Max's boss and Archie Panjabi as his PA. It’s nice to see an actress as striking as Abbie Cornish (as Christie, Henry’s illegitimate Californian daughter) appearing in a film outside her native Australia, even if her character is fairly superfluous.Of course Provence looks absolutely gorgeous through Scott’s eyes. (The DP is Philippe Le Sourd, but you sense Scott has had a lot of input, and indeed has frequently coaxed career-best work from his directors of photography.) However, Scott is less than subtle by giving London such cold, grey-blue tones as he does. And you notice how soon after its construction the Gherkin building has become shorthand for the city it resides in. On the other hand, you do get to hear Johnny Hallyday singing a French-language version of “Hey Joe”, plus clips from Monsieur Hulot’s Holiday during one key scene.A Good Year will never go down as one of Scott’s best films, though it’s not a terrible one. It’s not an especially good one either. But save it up for a cold winter’s day and you may enjoy it more.

I cannot express how much I enjoyed this film, and largely because it wasn't what I was expecting. What I was expecting was a serious 'bad guy turns good' type of drama. What I got was a beautifully shot romantic comedy from the Ridley Scott and Russell Crowe - about as far removed from Gladiator as you could imagine.Russell Crowe, brilliant in Gladiator and then amazing in A Beautiful Mind in a wholly different role, demonstrates he can do comedy with aplomb. Not slapstick comedy, but gentle, clever and witty comedy.Yes, the film is largely predictable. But, nonetheless, I was smiling throughout due to the excellent script, great acting and wonderful 'comic timing' that was displayed in a subtle manner throughout.For what this film offers, it does in style. Thoroughly recommended - and "Lance Armstrong" indeed! ;-)

A pleasant rom-com with the great advantage of beautiful visuals and superior photography. The storyline is innocuous and eminently predictable, although it has a message of sorts: greed and dishonesty are bad; enjoying life at a slower pace (good food, wine, friends, wine, the simple pleasures in life – like fine wine) are good. Of course, it does help if one inherits the property where such a life can take place!Competent performances from all the actors, with a great cameo from Albert Finney, and a surprisingly mature turn from Freddie Highmore as the obnoxious young Max Skinner. I have trouble visualizing Russell Crowe as a handsome hunk, when he is clearly carrying a fair amount of tubsy excess weight, and behaving like a despicable boor. As explained in the director's commentary, we are supposed to dislike him for most of the film, and he faces a monumental task when he sets about reversing that. He seems to enjoy making fun of himself, and his many fans enjoyed seeing a new side to his acting range.The real protagonist of this sweet movie is Provence itself, the gorgeous location in the south of France, which is truly as beautiful as in the movies. Great use of light to contrast the opposing lifestyles: golden glow versus cold, blue filter. If you enjoy gentle humour, some psychological soul-searching, and pleasant escapism with a good dose of travelogue-style fantastic visuals, this movie might appeal.Extensive extras on the DVD: the best is “Postcards from Provence” (full-length commentary from the director, Ridley Scott, and the screenwriter, Marc Klein) with lots of behind-the-scenes and making-of material; there is also a promo for Russell Crowe's band. We re-watch the DVD regularly, and always enjoy the cinematography.

Bought for a friend

Excellent story.

Spot on