Complete list. :-(
Tea at four. Dinner at eight. Murder at midnight.
Multiple storylined drama set in 1932, showing the lives of upstairs guest and downstairs servants at a party in a country house in England.
An odd murder mystery for the reason that the murder takes place with less than an hour of the 137 minutes runtime left, probably because everything preceding it - the unnerving build-up in and around the English mansion, inhabited for a weekend by a bunch of high-ups and their servants - is already capable of carrying the film. Director Robert Altman spends meticulous care on arranging the opening scenes so as to introduce each of the many characters and to leave none of them without personality traits that distinguishes them from the bunch. It is thoroughly enjoyable in itself to see those Brits intermingle, clash and act superciliously and, although the actors do not attempt to portray realistic characters, the…
The best directed, superbly acted, stunningly scripted, intelligent, socially satirical and most beautifully shot cup of Earl Grey I've ever had.
Robert Altman's 2001 murder mystery is a period piece set in England between the two world wars. It was a time of pretentious aristocracy and the perfect vehicle for a study of class-ism, as guests gather for pheasant shooting at the Gosford Park country estate of McCordle family patriarch, William, played with wonderfully arrogant conceit by Michael Gambon. It takes nearly a full hour to set the stage and clearly identify the key characters of the 35-member ensemble, who include Maggie Smith, Helen Mirren, Charles Dance, Emily Watson, Alan Bates, Clive Owen, Kristin Scott Thomas and a host of other talented actors ... a truly fine cast.
What keeps our attention till the murder occurs is the skillful unveiling of…
Colonel Mustard. With the teaspoon. In an ever-so-dapper and well-acted costume drama. Positively engrossing!
Besides creating a great dark comedy in Gosford Park, Robert Altman and Julian Fellowes created a chronicle of costumes which they used to criticize the futile, snob, frivolous, adulterous and provincial personalities from the early 30s. This one is, undoubtedly, a great movie filled with substance and criticism, and I'd absolutely recommend this to the lovers of Renoir's The Rules of the Game.
If you don't feel your pulse racing after the opening 5 minutes, then it's not for you. Big name Altman ensemble in an Upstairs, Downstairs-Cluedo Christie-esque Big House murder-mystery, what's not to like? After the rush of opening character introductions, I was most certainly on cloud nine, kicking myself for waiting so long to see this.
Whilst the momentum of the film suffers an asthma attack in the second half, it was always more of a character drama than a who-dun-it anyway. The subtext of this film is incredibly rich as you would expect (everything from mid war attitudes to Brit/American and class differences to Ivor Novello to the various closet secrets, grievances and vicarious gossip induced by the worldly…
Social commentary wrapped up in what could have been a great romp through weekend leisure and murder in a big house full of insane people, including the insanely hot Kristin Scott Thomas, the deliberate Clive Owen, an incredible Maggie Smith, a few other name actors picking up paychecks, and that Scottish girl from Trainspotting. It's a good enough watch. It's just missing something, a satisfying resolution probably.
I have two massive film collections in two different family homes, that my entire family has collected over the years. With Gosford Park being in one of the collections, and me being determined to watch all or at least almost all the DVDs in the shelves, this was a must-see.
When I asked my mother what this film was about, she replied like this;
"It's basically a game of Clue in the set of Downton Abbey".
She could not have been more right. And although it is not executed in the perfect way, that's the reason why I even in the slightest enjoyed this movie.
Mysteries, or detective stories are my favorite types of movies, and books as well. When…
What you on about? Gosford Park tells a subpar murder mystery story that deals with class, business circles, and gossip related themes. The entire movie is completely dialogue and set up value to gain a deeper understanding of the vast amount characters and their motivations. This works to an extent except for the fact that the cast is quite large leaving vast amounts of information that is next to impossible to remember and keep track of. Furthermore, nothing dramatic happens for a long while. When the murder does happen, it is glossed over and rushed while not providing a full pay off for the amount of time spent with these people. There are several moments that provide meaningless character development…
Gosford Park stands as one of Altman's many ensemble films where the premise does not necessarily support the execution. He wanted to skewer the opaque british class division inherent when the servants and valets are compared to the wealthy they service, and the problem becomes that he isn't scathing or poignant enough to make the film worthwhile. Like The Player which worked as a character piece more than an outright takedown of Hollywood, Gosford acts as a limp wristed attack on British societal ideals and self aggrandizing that gets spread too thin over its enormous cast. The Player had Griffin Mill to focus on and through him all of Altman's sly hands against Hollywood were made apparent. With Gosford, the…
This ticket stub got wet and all I could read was "...ford" but with the date still readable I was able to figure it out...
Looking way back I can relate it to why I never had the desire to watch Downton Abby when I realized it had all been done before and better
ZZZZZzzzz... Huh? What?! ... I must have dozed off.
Ok, I didn't really fall asleep, but I was reasonably bored by all the aristocratic British chitchat that filled the majority of the movie, drowning out the seemingly subordinate, minor whodunnit suspense.
The film also suffered from an overload of characters, and I expected more from Stephen Fry's disappointingly short-lived and tame inspector role.
The film creates its situations with an astonishing brilliance, but then...then...it doesn’t seem to know what to do with them. Is this a typical failure of Robert Altman’s films? A sense of inertia. But watch the beginning, the way Altman’s luxurious but casual camera movements create his world. It is an upstairs/downstairs English country house drama and the lines of authority between the gentry and the servants are obvious and sharp: Maggie Smith is sheltered from the rain by bustling servants, while her maid, Kelly Macdonald, has to run after the car to the back of the house. The servants are constantly being differentiated by position, but also by the position of their ‘masters’ (they get called by their employers…
I don't know that Altman's visual or sound style match Fellowe's writing as well as the directors who helmed Downton Abbey. I struggled to hear a lot of the dialogue on more on this viewing, maybe my hearing is going? I didn't realize how dark some of the shots are and Altman utilizes the opaque shots from hallways and corridors into downstairs rooms a little too much.
However I absolutely love the dense script that has so many layers to be revealed. There are some characters that need to be a little more developed considering there actually is a plot going on throughout.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
I have tried to limit this list to proper period dramas (no animated features or alternate histories) and arrange them…