mike leigh – PopCult Reviews

PopCult Podcast – Green Border/Hard Truths

The plight of refugees at the Polish/Belarusian border is spotlighted. Then we spend time with a British woman stuck in her anxiety.

Movie Review – Happy-Go-Lucky

Happy-Go-Lucky (2008)
Written and directed by Mike Leigh

I remember when this film came out, and a significant part of the discourse was how annoying the main character was. In revisiting it, I didn’t find that to be true. Oh yes, Poppy is very positive, but she reminded me of the Kindergarten teachers I worked alongside as an elementary teacher. Her seemingly endless cheeriness serves a purpose in Leigh’s story. It’s a protection against the nihilism of the world around her, which I think we all can admit is easy to sink into. I know that in real life, I probably would feel overwhelmed and overstimulated being in Poppy’s presence for long periods. The mistake many characters make, and I suspect it is the same with the audience, is that because Poppy is so cheerful, she must be a fool. And that is not true in the slightest.

Movie Review – All or Nothing

All or Nothing (2002)
Written and directed by Mike Leigh

Mike Leigh doesn’t cast people that meet the Hollywood standards of “beauty,” but damn if his performers are not always beautiful & captivating. They reveal that actual beauty is not a series of symmetrical physical features on the face or a toned body but in the ability to capture moments of the human experience. We often must rush past these moments in our daily lives because the systems that rule us demand we go faster. Within a Leigh film, the actor can sit in a moment, examine & explore it, and find the truth within it. Leigh’s films are all about the reality of what it means to be a human being alive in these times, seeking connection & meaning.

Movie Review – Topsy-Turvy

Topsy-Turvy (1999)
Written and directed by Mike Leigh

Following the success of Secrets & Lies, Mike Leigh got more financial backing for his next project. It would be his first foray into making a historical film, and of course, it would focus on something closely associated with the British. In this case it was the comic operas of Gilbert & Sullivan. While critics loved the picture & it won two Oscars for design, audiences did not show up like they did for the last one. Topsy-Turvy failed to make back its budget, but this would not be the end of Leigh’s exploration of England’s past. In the meantime, he gave us a very different style of historical film that doesn’t try to hide some of the uglier aspects of the time.

Movie Review – Secrets & Lies

Secrets & Lies (1996)
Written and directed by Mike Leigh

Mike Leigh has presented us with some of the best British female film performances of the latter half of the 20th century. He has a troupe of performers, many of whom are fantastic actresses – Alison Steadman, Ruth Sheen, Katrin Cartildge, and Sally Hawkins. The crown jewel among them is Lesley Manville, but more on her in a later review. It doesn’t surprise me that a filmmaker can bring out such strong performances with actresses he’s been collaborating with for decades. The rapport they share must be as smooth as butter by this point. The even more impressive feat is when he can get that same level of performance out of an actress he’s working with for the first time. Secrets & Lies provides two of these performances and is one of Leigh’s finest achievements.

Movie Review – Naked

Naked (1993)
Written and directed by Mike Leigh

For those not alive in the 1990s, a specific element is difficult to recapture. Due to a simplistic view of numbers, many people felt doom & gloom over the fact that the calendar would one day soon start with “20” rather than “19.” It sounds quaint compared to today’s world, where nothing seemed entirely significant about “2020” until there was. I do think the Cold War fueled many of the anxieties of the 1980s and preceding decades, but with “communism defeated,” you’d think the children of the West would be enjoying an endless capitalist bacchanal. It wasn’t the case because capitalism was spiraling; it was a long journey from the edge of the sink to the bottom. Mike Leigh was feeling that gloom; the conservative Thatcher era in the UK had left so many people barely holding on by a thread, and with that economic crush, they were becoming nastier to each other.

Movie Review – Life is Sweet

Life Is Sweet (1990)
Written and directed by Mike Leigh

Mike Leigh could be seen as a director who makes funny little movies about British working-class people’s lives. That is true to an extent. However, there’s so much more happening under the surface of these films, which is Leigh pointing out to us how complex & nuanced lives we see as surface-level can be. Our lives are more complicated than someone like Elon Musk or Mark Zuckerberg. We experience life more fully than them, as we are still in contact with what makes us part of the natural world: the struggle for survival. Being working-class in the West is very complex, as you’ve been afforded some distractions & escapes that people in the developing world can only dream of. Yet, you still experience regular anxiety over housing/bills/food/etc. Life is often complicated by our perspective and class position.

Movie Review – High Hopes

High Hopes (1988)
Written and directed by Mike Leigh

To see Mike Leigh’s name credited as the maker behind a movie is to signify something. It means you will be treated to some of the best conversations between very human, grounded characters you’ve ever heard. The story will be focused on the working class, with an even-handed mix of misery and mirth. The whole thing will be very British but not in the nationalistic sense; in the communal sense, British people living quiet lives with moments of drama in them. High Hopes was not Leigh’s first picture. Previously, he directed Bleak Moments (1971) with his second feature, Meantime, but he did not come to theaters until 1983. Because Leigh’s preferred method of working is to allow the actors to improvise dialogue during rehearsal sessions, the filmmaker had trouble getting financial backing. But with High Hopes, Leigh’s career finally kicked off in full, leading to a string of fantastic movies that continue to come out today.

Jolly Good Thursdays – Naked

Naked (1993, dir. Mike Leigh)

Starring David Thewlis, Lesley Sharp, Katrin Cartlidge, Gregg Crutwell, Claire Skinner

When viewing a Mike Leigh film you typically expect to see a slice of life portrayal of contemporary England. The focus will on the ins and outs of daily life for working class people. However, with this picture, Leigh creates an abrasive, violent, surreal universe which does adhere to the tenets of his standard films: there are no big illuminating answers or moments.

We first see Johnny (Thewlis), the film’s protagonist, in the middle of raping a woman in an alleyway. Hardly a way to endear us the character we’ll be following through the rest of the movie. The woman runs away saying she’s going to get brothers and they will beat Johnny to death. Johnny runs home, grabs a few things, steals a car and heads to London where he imposes himself on old flame Sophie (Sharp). Johnny gets involved with Sophie’s flatmate (Cartlidge), leaves in a huff and encounters a series of strange characters living and working in London. Johnny is paralleled by Jeremy (Crutwell) an utter misogynist and sociopath that gives Patrick Bateman a run for his money.

Director Leigh seems to be using Naked as sandbox in which to play with the audience’s expectations of their characters and the flow of plot in film. There is a palpable trajectory to the film for its first 30 minutes, and then suddenly it veers off into an episodic series of encounters between Johnny and other random characters. The introduction of Jeremy is intentionally confusing and appears to have no bearing on the overall plot of the film. Jeremy’s abusive exploits don’t feature any characters from Johnny’s portion of the film and seem as if they were cut in from another film. When the two plots cross into each other in the last 40 minutes of the film there is no explosive conflict or release of tension.

Naked could easily be seen as an extremely misogynistic film, but that would be selling short. Yes, women are brutalized numerous times throughout the film, Jeremy himself rapes about three women. However, I think Leigh is testing us to see what we will accept from characters in a film. What is the line they cross that makes them intolerable for us? In addition, every single characters is away from home: Johnny is on the run, Sophie is sub-leasing, her friend Sandra (Skinner) is off traveling through Zimbabwe. The moment the film finds its resolution is when all the characters have assembled in Sandra’s flat after she has returned home. It’s in this moment the genre of the film becomes rapid fire and even more absurd. There are elements of farce, romance, drama, and in the end it all falls apart. Johnny ends up even more broken than he had been at the start and where is going is now unknown and inevitably even further into the gutter.