Difference between revisions of "Love Actually"

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"You know what? It does have genuine wit and charm" - ''Mark Kermode, BBC Radio 5 Live''
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One of those films that could turn a statue to jelly and yet doesn't feature cute robots who don't make it or rabbits being run over to Art Garfunkel songs.
 
One of those films that could turn a statue to jelly and yet doesn't feature cute robots who don't make it or rabbits being run over to Art Garfunkel songs.
  
The [[Good Lady Professor Her Indoors]] once watched it three times, back-to-back, on a flight.
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The [[Good Lady Professor Her Indoors]] once watched it three times, back-to-back, on a flight to America.
  
[[Mark Kermode]]'s original opinion on the film was that it was too undisciplined and meandering, but he later [[nothing if not inconsistent|changed his mind]]. He bought the film for the Good Lady Professor, doing that thing quoted from High Fidelity - true love is buying a present for someone that ''they'' want, not that you want.
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[[Mark Kermode]]'s original opinion on the film was that it was too undisciplined and meandering, but he later [[nothing if not inconsistent|changed his mind]]. He bought the film for the Good Lady Professor, doing that thing quoted from High Fidelity - true love is buying a present for someone that ''they'' would like, not that you would like.
  
 
However, it has been pointed out that the film brims with white male privilege and sexism. It is entirely possible that we may have been dazzled by the awesomeness of [[Emma Thompson]] crying to Both Sides Now, but all the men are bosses; all the women barely speak and when they do it is fawn, simper or titillate; harassment goes unremarked (in fact Natalie's reward is to be sacked); women call other women fat when they are not; women are sisters, daughters, mothers, lovers but they are not bosses, independent women with a life away from the men they are after or who are after them; the women have no agency and are powerless. Almost everyone is white and middle class, which is standard for Richard Curtis films.
 
However, it has been pointed out that the film brims with white male privilege and sexism. It is entirely possible that we may have been dazzled by the awesomeness of [[Emma Thompson]] crying to Both Sides Now, but all the men are bosses; all the women barely speak and when they do it is fawn, simper or titillate; harassment goes unremarked (in fact Natalie's reward is to be sacked); women call other women fat when they are not; women are sisters, daughters, mothers, lovers but they are not bosses, independent women with a life away from the men they are after or who are after them; the women have no agency and are powerless. Almost everyone is white and middle class, which is standard for Richard Curtis films.

Revision as of 09:26, 29 September 2017

"You know what? It does have genuine wit and charm" - Mark Kermode, BBC Radio 5 Live

One of those films that could turn a statue to jelly and yet doesn't feature cute robots who don't make it or rabbits being run over to Art Garfunkel songs.

The Good Lady Professor Her Indoors once watched it three times, back-to-back, on a flight to America.

Mark Kermode's original opinion on the film was that it was too undisciplined and meandering, but he later changed his mind. He bought the film for the Good Lady Professor, doing that thing quoted from High Fidelity - true love is buying a present for someone that they would like, not that you would like.

However, it has been pointed out that the film brims with white male privilege and sexism. It is entirely possible that we may have been dazzled by the awesomeness of Emma Thompson crying to Both Sides Now, but all the men are bosses; all the women barely speak and when they do it is fawn, simper or titillate; harassment goes unremarked (in fact Natalie's reward is to be sacked); women call other women fat when they are not; women are sisters, daughters, mothers, lovers but they are not bosses, independent women with a life away from the men they are after or who are after them; the women have no agency and are powerless. Almost everyone is white and middle class, which is standard for Richard Curtis films.

It should be noted when film reviewing that other opinions are also available.

Despite the film's title, it is nothing to do with the Socialist Actually Party.