An Awfully Big Adventure

This is one of the better films about theatre and what it does to some people. It resembles "The Dresser" in atmosphere to a certain extent, and in the portrayal of many of its characters. Both are set in Northern England during the 1940s, in rather faded theatres. Characters from one film could quite easily have inhabited the other. Here however we follow primarily the journey of a stage-struck young girl as she enters the strange and often unpredictable world of a repertory theatre -her own awfully big adventure. Note the irony of the title. Secret desires and yearnings linger under the surface, bitchiness and petty jealousy escort humour and the spirit of "the show going on" no matter what. It is however quite a dark film, and bravely allows us to get to know characters who are unsympathetic but not altogether unlikable. Alan Rickman underplays beautifully as always, and a restrained Hugh Grant demonstrates his considerable skill as a character actor. This is one of the most interesting of all his screen performances. Georgina Cates gives a stunning performance of the innocent (but not THAT innocent) girl drawn into the world of the theatre, and the supporting cast are faultless. Prunella Scales, Carol Drinkwater and Peter Firth deserve special salutes however. Lots to like here, but it is not at all a feel good movie. Nor is it meant to be.

The real hub around which this movie moves is not Hugh Grant or Alan Rickman but Georgina Cates as Stella, an unpaid sixteen year old student who is not only stagestruck but enamored of Meredith Potter (Hugh Grant), the cruel and thoughtless director who is more interested in boys.

Stella, ignorant of most of life, is unaware of his predilictions and so ill-informed she is afraid she might have a venereal disease from touching a man with her hand. Having been abandoned by her mother (who is the voice on the phone giving the time), she is being raised by her aunt and uncle, well-meaning people who love her but have no idea of what to do with her or tell her. Eventually she is seduced by P.L. O'Hara (Alan Rickman), who has come to Liverpool to play Captain Hook but also to once again look for the woman who bore him a child many years before. He imagines he has a son and that belief allows him to continue, despite his lack of self worth.

He eventually succumbs to his own predilictions when he pursues Stella. She, having no idea of sex other than as something to be done to her, is a slow learner but eventually says that like "learning a ukelele, it takes practice." The Grant character is so thoroughly despicable it proves once and for all that Hugh Grant can, in fact, act. Rickman gives a well done, mostly underplayed performance, not even having a line in the first four scenes he is in. Georgina Cates is the real jewel here, with a combination of naivete and boldness, along with a girlish charm which makes Stella believable as well as pathetic. Not the greatest movie made but a well done, well cast piece of work by professionals with a sense of purpose. See it! But not for the children.

Young stage-struck Stella (Georgina Cates) has bright dyed red hair and lives with her aunt and uncle (Rita Tushingham and Alun Armstrong, both very good) in run-down Liverpool. She joins a theatre group where she isn't required to do very much and develops a crush on vain director Meredith (Hugh Grant, better than usual) and a half-contempt for the other members of the company (including a wicked parody of the professional ham from Edward Petherbridge). When flamboyant actor PL O'Hara (Alan Rickman, excellent) arrives to play Captain Hook in a new production of Peter Pan, his fate becomes entangled with Stella's in a way neither of them could have predicted. This movie veers from a sharp set of character studies of provincial theatre to a weird and twisted love story with a tragic resolution. Aside from the main story, there are two lovely support roles for Prunella Scales and Peter Firth. The one problem in the cast is Cates, whose background was in TV sitcom and it shows.

I've been curious about this movie for a long time. I finally saw it on IFC.

It was great! In this age of VERY expensive, predictable, committee-approved "art", I was relieved to watch this story unfold. Although I suspected early on about the relationship between Cates and Rickman's characters, it's execution was much better than the usual pap that pretends to be a surprise or twist.

Or even interesting.

The real twists in this story, was its own mirror of the real human forces and decisions that keep some of the sweetest, and unfortunately, worst stories going on. The twists were the tiny reasons why such things, sometimes painful and abhorrent to our collective cultural sense of what's right and decent in a society, to continue within it.

The hypocrisy of denying that these dark parts of ourselves exist often cause them to continue. Often times, the self-appointed moral-police of our culture make this inevitable in their pursuit of human frailty, the aftermath of its hunt, and the white-washing of the events (and non-events) they discovered.

No character represented total evil, good, decadence or purity, including Stella. She had as much (subtle) emotional weaponry with her, as she had emotional scars.

Many Americans don't like, or have been trained (over time) to not have patience for such imperfect main-characters in fiction anymore. The one-dimensional, mass-marketed character, is the norm here now.

That's sad. Because of that, this movie (and others like it) didn't do very well here.

Having this story take place within the entertainment industry is an excellent way of displaying so much of the world's human tragedy AND stupidity being covered up by some people's treachery, some people's nobility, or a combination of both.

And even at the end of this tale, all of the stage crew, like life itself, executed their own particular versions of the adage, "The show must go on."

No perfect hollywood story here, with it's base and stupid doling out of come-uppance of everyone's flaws...or Evil.

Shame on all of those who gave most of the plot away. This is a worthwhile film, one I have seen at least twice and will watch any time it is on. True, I am a fan of Alan Rickman, but it goes beyond that. As a slice of British theatre life it is up there with "The Dresser" and is about as depressing. A romp it is not, but so what? Was it marketed badly? Yes, perhaps. But it is well acted, tightly directed and even fun to watch at times. It doesn't end well, but as Brad Pitt said in character in "The Devil's Own" ... "this isn't an American story." Hooray for that.

As a character study of several people, it is about as good as it gets, although I might want a little more depth, especially on Rickman's character. He is gentlemen enough to be destroyed by what he does in the end and it enobles his character. I enjoyed watching Hugh Grant, who is a delightful man in person and not quite the twit he often plays, cast against type as a nasty, bitchy queen. Yeah, he can act. So what if they pay him a lot of money to be himself, more or less, most of the time? When pressed, he can deliver.

If you like Grant and Rickman, you can't go wrong. If you like dark stories of behind-the-scenes theatre life, this is a good 'un for you. And young Ms. Cates, married to Skeet Ulrich gives a great performance, even if she had to lie her way into the part.