MOVIE DESCRIPTION
Eight London couples strive to tackle their relationships in numerous programs. Their tryst with delight in makes them glimpse how sophisticated relationships can even be.
MOVIE TRAILER
YEAR
2003
ORIGINAL LANGUAGE
en,
PRODUCTION COUNTRY
France,United Kingdom
PRODUCTION COMPANIES
Working Title Motion footage,DNA Motion footage,Universal Photography,StudioCanal
CAST
- Harry: Alan Rickman
- Billy Mack: Bill Nighy
- Jamie Bennett: Colin Firth
- Karen: Emma Thompson
- The High Minister: Hugh Grant
- Sarah: Laura Linney
- Daniel: Liam Neeson
- Natalie: Martine McCutcheon
- Designate: Andrew Lincoln
- Juliet: Keira Knightley
- Peter: Chiwetel Ejiofor
- Joe: Gregor Fisher
- Mia: Heike Makatsch
- Colin Frissell: Kris Marshall
- Aurelia: Lúcia Moniz
- John: Martin Freeman
- Karl: Rodrigo Santoro
- Sam: Thomas Brodie-Sangster
- Rufus, Jewellery Salesman: Rowan Atkinson
- Engineer: Rory MacGregor
- Jamie’s Female friend: Sienna Guillory
- Daisy, Karen’s Daughter: Lulu Popplewell
- Proper Judy: Joanna Page
- Annie: Nina Sosanya
- Terence, Who’s in Payment: Frank Moorey
- Pat the Housekeeper: Jill Raymond
- Vicar: Tim Hatwell
- The Wedding Singer: Lynden David Hall
- Guitarist: Jont Whittington
- Jamie’s Rotten Brother: Dan Fredenburgh
- Nancy the Caterer: Julia Davis
- Tony: Abdul Salis
- Movie Director: Alan Barnes
- Movie Cameraman: Shaughan Seymour
- Funeral Priest: Helen Murton
- Sam’s Grandfather: Edward Hardwicke
- Sam’s Grandmother: Caroline John
- Family Mourner: Gemma Aston
- Family Mourner: Matt Harvey
- Family Mourner: Adrian Preater
- Family Mourner: Joanna Thaw
- Wedding DJ: Junior Simpson
- Radio Watford DJ: Brian Bovell
- Receptionist: Sarah McDougall
- Mikey, DJ Interviewer: Marcus Brigstocke
- Alex, Deputy High Minister: Richard Hawley
- Jeremy: Wyllie Longmore
- Cupboard Minister: Gillian Barge
- Cupboard Minister: Richard Cotton
- Cupboard Minister: Kate Bowes Renna
- Cupboard Minister: Kate Glover
- Cupboard Minister: Nicola McRoy
- Ant: Anthony McPartlin
- Dec: Declan Donnelly
- Eleonore: Elisabeth Margoni
- The US President: Billy Bob Thornton
- US Knowledgeable: Peter Marinker
- Press Convention Reporter: Keir Charles
- Press Convention Reporter: Doraly Rosen
- PM’s Secretary: Meg Wynn Owen
- Natalie’s Replacement: Carol Carey
- Radio DJ: Jo Whiley
- Billy’s Video Vixen: Sarah Atkinson
- Billy’s Video Vixen: Clare Bennett
- Billy’s Video Vixen: Sarah Holland
- Billy’s Video Vixen: Vicki Murdoch
- Billy’s Video Vixen: Meredith Ostrom
- Billy’s Video Vixen: Katherine Poulton
- Billy’s Video Vixen: Tuuli Shipster
- Parky: Michael Parkinson
- Michael, Sarah’s Brother: Michael FitzGerald
- Clinical institution Affected person: Ciaran O’Driscoll
- Bernie, Karen’s Son: William Wadham
- Language Student: Catia Duarte
- Language Student: Igor Urdenko
- Language Student: Nat Udom
- Language Student: Ines Boughanmi
- Language Student: Yuk Sim Yau
- Wisconsin Taxi Driver: John Sharian
- Barman: Glenn Conroy
- Stacey, American Dreamgirl: Ivana Miličević
- Jeannie, American Angel: January Jones
- Carol-Anne, American Goddess: Elisha Cuthbert
- Radio 1 Chart Point to DJ: Wes Butters
- Legend Company Government: Laura Rees
- Jamie’s Sister: Emma Buckley
- Jamie’s Mum: Sheila Allen
- PM’s Chauffeur, Terry: Terry Reece
- PM’s Bodyguard, Gavin: Colin Coull
- Harris Avenue Mature Lady: Margery Mason
- Harris Avenue Cramped Girl: Katharine Bailey
- Her Buddy: Tiffany Boysell
- Her Buddy: Georgia Flint
- Natalie’s Mum: Joanna 1st Baron Beaverbrook
- Natalie’s Dad: Bill Dreadful
- Natalie’s Octopus Brother: Billy Campbell
- John’s Brother: Paul Slack
- Mr Trench: Adam Godley
- Joanna Anderson: Olivia Olson
- Mrs. Jean Anderson: Ruby Turner
- Backing-singer Teacher: Amanda Garwood
- Mr. Anderson: Arturo Venegas
- Carol: Claudia Schiffer
- Tommy, Carol’s Son: Patrick Delaney
- Mr. Barros: Helder Costa
- Sophia Barros: Carla Vasconcelos
- Airport Gate Man: Stewart Howson
- Airport Guard: Jamie Edgell
- Airport Guard: Dave Fisher
- Airport Guard: Paul Heasman
- Airport Guard: Tony Lucken
- Restaurant Proprietor: Raul Atalaia
- Greta: Nancy Sorrell
- Harriet, the Horny One: Shannon Elizabeth
- Carla, the Proper Pleasant One: Denise Richards
- Trombone Player (uncredited): Richard Curtis
- Lesbian Lover (uncredited): Frances de la Tour
- Joanna (Daniel’s Ineffective Wife) (uncredited): Rebecca Frayn
- Journalist (uncredited): Kelly Michelle Grey
- Head Chorister (uncredited): Nia Jermin
- Taxi Passenger at Marseille Airport (uncredited): Jeanne Moreau
- Airport Attendant (uncredited): Deanna Mustard
- Headmistress (uncredited): Anne Reid
- Passenger Arriving at Airport (uncredited): Fiona Thompson
CREW
- Costume Private: Joanna Johnston
- Casting: Mary Selway
- Manufacturing Private: Jim Clay
- Casting: Shaheen Baig
- Producer: Tim Bevan
- Producer: Eric Fellner
- Editor: Prick Moore
- Director: Richard Curtis
- Producer: Duncan Kenworthy
- Musician: Craig Armstrong
- Tune Editor: Jon Olive
- Particular Outcomes Supervisor: Richard Conway
- Visible Outcomes: James Clarke
- Stunts: Adam Kirley
- Director of Photography: Michael Coulter
- Camera Operator: Martin Hume
- Location Supervisor: Joseph Jayawardena
- Co-Producer: Debra Hayward
- Co-Producer: Liza Chasin
- Makeup Artist: Lorna McGowan
- Casting: Fiona Weir
- Stunt Double: Talila Craig
- Manufacturing Sound Mixer: David Stephenson
- Sound Supervisor: Glenn Freemantle
- Assistant Sound Editor: Tom Sayers
- Assistant Sound Editor: Andrew Wilkinson
- ADR Editor: Gillian Dodders
- Sound Re-Recording Assistant: Adam Daniel
- Foley Mixer: Kevin Tayler
- Additional Camera: Mike Brewster
- Particular Outcomes Technician: Sam Conway
- Station Decoration: Caroline Smith
- Casting: Stephanie Corsalini
- Supervising Art Director: Jonathan McKinstry
- Draughtsman: Phil Harvey
- Art Direction: Rod McLean
- Draughtsman: Roger Bowles
- Musician: Peter Erskine
- Stunt Coordinator: Lee Sheward
- Station Costumer: Martin Chitty
- Costume Assistant: Charlotte Sewell
- 2d 2d Assistant Director: Alex Oakley
- Steadicam Operator: Paul Edwards
- Manufacturing Supervisor: Tori Parry
- Assistant Foley Artist: Andrew Caller
- Digital Colorist: Asa Shoul
- ADR Mixer: Aad Wirtz
- Line Producer: Chris Thompson
- Camera Operator: John Palmer
- Tune Editor: Michael Designate
- Tune Supervisor: Prick Angel
- Sound Re-Recording Mixer: Graham Daniel
- Assistant Art Director: Sophie Newman
- Script Editor: Emma Freud
- Musician: Bruce White
- Casting: Camilla-Valentine Isola
- Casting: Patrícia Vasconcelos
- Orchestrator: Matt Dunkley
- Dolby Consultant: Designate Kenna
- Foley Artist: Lionel Selwyn
- First Assistant Director: Christopher Newman
- Costume Assistant: Charlotte Finlay
- Art Direction: Justin Warburton-Brown
- Props: Barry Gibbs
- Assistant Makeup Artist: Laura McIntosh
- Digital Colorist: Adam Inglis
- Casting Assistant: Anne Barbier
- Art Department Assistant: Oliver Goodier
- Driver: Peter Devlin
- Camera Operator: David Morgan
- Camera Operator: Peter Taylor
- Foley Artist: Felicity Cottrell
- Aloof Photographer: Peter Mountain
- Visible Outcomes Compositor: Christian Manz
- Gaffer: Terry Edland
- Sound Re-Recording Assistant: Nigel Bennett
- Electrician: David Sinfield
- Assistant Editor: Paul Apted
- Simplest Boy Electrical: Wayne Leach
- Visible Outcomes Supervisor: Tim Webber
- Makeup Artist: Kate Benton
- Electrician: Warren Evans
- Visible Outcomes Editor: Roz Lowrie
- ADR Mixer: Ted Swanscott
- Station Costumer: Leigh Nicol
- Location Supervisor: Jonathan Hook
- Dolby Consultant: Prick Watson
- Visible Outcomes Producer: Tim Keene
- Sound Re-Recording Mixer: Robin O’Donoghue
- Makeup Clothier: Graham Johnston
- Sound Outcomes Editor: Designate Heslop
- Location Supervisor: Sue Quinn
- Put up Manufacturing Coordinator: Suzie Shearer
- Makeup Artist: Nora Robertson
- Assistant Sound Editor: Susan French
- ADR Recordist: Colin McLellan
- Orchestrator: Perry Montague Mason
- Orchestrator: Gavyn Wright
- Station Costumer: Amanda Trewin
- Assistant Editor: Tania Clarke
- Assistant Editor: Debs Richardson
- Driver: Martin Parry
- Costume Assistant: Liza Bracey
- Draughtsman: Jonathan Houlding
- Transportation Captain: Matthieu Rubin
- Construction Supervisor: Steve Bohan
- Assistant Director: Gil Kenny
- Camera Operator: Brad Larner
- Hair Clothier: Suzanne Belcher
- Government In Payment Of Manufacturing: Michelle Wright
- Put up Manufacturing Supervisor: Deborah Harding
- Art Department Assistant: Andrea Sofa
- 2d Assistant Director: Ben Howarth
- Sound Re-Recording Mixer: Richard Avenue
- Electrician: Danny Espey
- Assistant Sound Engineer: Jake Jackson
- Particular Outcomes Technician: Designate White
- Digital Producer: Claire McGrane
- Manufacturing Supervisor: Raphaël Benoliel
- 2d Assistant Camera: Basil Smith
- ADR Recordist: Prick Foley
- Painter: Glenn Inaugurate up
- Assistant Location Supervisor: Aurelia Thomas
- Painter: Designate Dowling
- Supervising Wood worker: Peter N. Brown
- Grip: Richard Broome
- Musician: Designate Berrow
- Musician: Mike Deasy
- ADR Affirm Casting: Phoebe Scholfield
- Foley Editor: Grahame Peters
- Grip: Andrew Friswell
- Wood worker: Stephen McGregor
- Costume Supervisor: Designate Ferguson
- Assistant Camera: Spencer Murray
- Playback Singer: Louise Clare Marshall
- Painter: Michael Finlay
- Transportation Captain: Roy Clarke
- Location Supervisor: Ashton Radcliffe
- Sound Recordist: Esther Smith
- Assistant Sound Engineer: Chris Barrett
- Wood worker: Bernard Collins
- Wood worker: Peter Collins
- Wood worker: Nigel Crafts
- Wood worker: Prick Lloyd
- Wood worker: Russell Sargent
- Put up Manufacturing Consulting: Steve Harrow
- Musician: Stephen Mitchell
- Draughtsman: Emma Vane
- Musician: Rachel Inch
- Wood worker: Gavin Gordon
- Musician: Nicholas Bucknall
- Musician: Andrew Findon
- Musician: Anna Noakes
- Vocals: Sarah Eyden
- Musician: Jonathan Williams
- Musician: Mike Lovett
- Musician: Dan Newell
- Musician: Roger Argente
- Electrician: Designate ‘Rocky’ Evans
- Tune Coordinator: Alexandra Hill
- Painter: Perry Bell
- ADR Recordist: Matthew McKenzie
- Wood worker: Lee Biggs
- Wood worker: James Buxton
- Wood worker: Prick Goodall
- Wood worker: Barry O’Brien
- Wood worker: Matt Whelan
- Construction Buyer: Zoe Robertson
- Supervising Wood worker: Tom Martin
- Wood worker: Designate Wilkinson
- Extras Casting Coordinator: Samia Fadli
- First Assistant Editor: Peter Dansie
- Video Lend a hand Operator: Stephen Lee
- Libra Head Technician: Ian Stride
- Graphic Clothier: Jools Faiers
- Painter: Luke Goodman
- Painter: Trevor Eve
- Standby Wood worker: John McGee
- Wood worker: Paul Webb
- Supervising Wood worker: Eamon McLoughlin
- Supervising Wood worker: Danny O’Regan Jr.
- Supervising Wood worker: David Lowery
- Driver: Simon Hudnott
- Focal point Puller: James Bloom
- Dressing Prop: John Botton
- Dressing Prop: Colin Ellis
- Dressing Prop: Jason Hopperton
- Assistant Sound Engineer: Olga Fitzroy
- Stunt Double: Tracy Caudle
- Camera Trainee: Luke Coulter
- Extras Casting: Chuck Douglas
- Finance: Michele Tandy
- Painter: John Hersey
- Third Assistant Director: Chris Burgess
- Tune Consultant: Kirsten Lane
- Tune Consultant: Jeffrey Pollack
- Assistant Art Director: Heidi Gibb
- Conductor: Cecilia Weston
- Props: Jean-Paul Bernardi
- Genetator Operator: Designate Laidlaw
- Third Assistant Director: Tom Glaisyer
- Focal point Puller: Mik Allen
- Construction Supervisor: Seamus O’Sullivan
- Painter: Frank Berlin
- Painter: Jeff Sullivan
- Crowd Assistant Director: Sue Wood
- Assistant Director Trainee: Julie Laugier
- Wood worker: Joseph Alley
- Wood worker: David Barker
- Wood worker: Bob Cann
- Wood worker: Paul Wood worker
- Storyboard Artist: Jane Clark
- Painter: Ben Crosby
- Wood worker: Fred Crosby
- Wood worker: Derek Dawson
- Paint Coordinator: Dean Dunham
- Wood worker: Lee Edwards
- Wood worker: David Gibson
- Painter: Craig Gleeson
- Wood worker: Andy Proper
- Painter: Alan Grenham
- Wood worker: Peter Grove
- Painter: Jessie Hammond
- Wood worker: Kevin Harris
- Wood worker: Gary Hedges
- Painter: Garry Higgins
- Wood worker: Barnaby Inman
- Wood worker: Anthony McGee
- Painter: Charlie McGinlay
- Painter: John McGuigan
- Standby Painter: Brian Morris
- Wood worker: Stephen Murray
- Wood worker: Peter Nodwell
- Wood worker: Geoff Nolan
- Wood worker: Colin Osgood
- Wood worker: Jason Phelps
- Wood worker: Dave Philpott
- Wood worker: Richard Shackleton
- Wood worker: Rolf Snellgrove
- Painter: Kenneth Welland
- Painter: Ian Zawadzki
- Sound Assistant: Amie Stephenson
- Particular Outcomes Technician: Nigel Wilkinson
- Visible Outcomes Compositor: Nicholas Seal
- Digital Conform Editor: Steve Wagendorp
- Gaffer: Patrick Allard
- Video Lend a hand Operator: Rory Fry
- Electrician: Patrick O’Flynn
- Electrician: Karl Thomas
- Standby Rigger: David Weller
- ADR Affirm Casting: Jay Benedict
- Costume Assistant: Frank Gallacher
- Assistant Costume Clothier: Marlene Lawlor
- Costume Assistant: Jo Roderick
- Costume Assistant: Yvonne Otzen
- Assistant Location Supervisor: Olivier Coquillon
- Location Supervisor: Arnaud Duterque
- Location Assistant: Lucy Foulds
- Assistant Location Supervisor: David Piechaczek
- Musician: Pete Beachill
- Musician: Simon Chamberlain
- Sound Assistant: Emma Ford
- Driver: John Burden
- Driver: Designate Hatchwell
- Driver: Tommy Hunt
- Driver: Townsley Knott
- Driver: Martin Lewis
- Driver: Mike Moran
- Driver: Enyo Mortty
- Driver: Terry Reece
- Driver: Simon Saunders
- Driver: John Smith
- Driver: Tony Wadsworth
- Driver: George Yeung
Credits to: TheMovieDb
God most attention-grabbing knows what I is liable to be with out you.
London, England, and it be the flee as much as Christmas, and we’re within the firm of a series of couples going via the thrill and considerations that love can carry.
We originate with a narration from Hugh Grant who tells us that when he’s terrorized by the abominate within the enviornment, he thinks of the arrivals characteristic of Heathrow airport. A space where kinfolk greet returning kinfolk, an area that certainly showcases a strand of love in its joyous form. He extra ventures that when the aeroplanes hit the twin towers on 9/11, as far as he knows, all these cell phone calls from these sadly interested had been messages of love, no longer abominate. Pertinent musings that though reasonably sombre for an opening, sets it up neatly for what Richard Curtis (author and director) desires to express.
A roll call of gorgeous British and Irish actors, and American Laura Linney, lend their substantial talents to Curtis’ ensemble half. The construction is surprisingly straightforward taking into account the series of tales being woven together, the being that there may perhaps make certain to be a narrative in there to both love, or, yes, even abominate. Is it sentimental? Obviously. Is it as stuffed as a turkey on Xmas day? Naturally. Does it stretch credibility in some strands? Obviously. But most attention-grabbing the coldest of hearts might well if reality be told decry that Admire Genuinely is all over. Very typically it be comical too. Curtis, following on from writing credits similar to Four Weddings And A Funeral, continues to explain himself to be a extraordinarily gorgeous author of comedy. None more so than with Invoice Nighy’s past his sell by date pop indispensable person, Billy Mack. There may perhaps be something for all individuals in right here, certainly there may perhaps be liable to be something that many can accomplice with.
It’s miles a rapid-witted affecting movie that might well nonetheless hopefully perk up individuals who gain blue around the holiday season. With perceptive writing, some rapid-witted acting (Nighy, Emma Thomson, Colin Firth et al) and a soundtrack of some rate, Admire Genuinely is a winner. 8/10
Admire Genuinely coulda been any individual; it coulda been a contender. There had been scenes and characters I cherished, however the movie became all but ruined by the irritatingly bad bits. They would perhaps perhaps want dropped two total subplots and raised the quality severely: I am pondering pf the needlessly crass over the hill singer with the Christmas tune competition, and the male delusion thread about the idiot going to Wisconsin and encountering three just valid-attempting nymphomaniacs. The time saved reducing these scenes will had been allocated to Laura Linney’s particular wants brother and her infatuation, an area that factual petered out near the stop, and to the Emma Thompson personality’s marriage, which showed promise but similarly fizzled out with a half of-hearted scene at the stop. Or they are able to possess given more veil time to Natalie, the prime minister’s love interest, who stole a couple of scenes and deserved many more.
So it became relaxing in locations and touching at varied occasions, and I’m able to factual about take into story myself observing this indispensable person-studded near-omit again, as long as I’m able to motivate a finger on the short ahead button.
**Bringing together a complete lot of plots, the movie is rarely any longer about love, but about Admire in its most diverse aspects… and no longer repeatedly entirely contented.**
Not like most romantic motion photographs, which follow a sugary narrative and be aware it to the stop, with the invariable marriage at the stop, and all the pieces in rosy, this movie looks to care more about love itself. , as a sense. In spite of all the pieces, there are nine sub-plots interested and every person explores a varied aspect of love: now we possess teenage love, now we possess illicit loves, now we possess no longer going romances, now we possess love triangles, we also possess a love that blossoms with out one or the more than just a few. issue the identical language… and all all the design via the pre-Christmas occasions! So I gained’t extinguish time sifting via each space, perhaps it be for basically the most straightforward.
The movie will possess long gone terribly frightening, however the truth is that it the truth is works reasonably neatly. It’s miles rarely any longer a movie where we can worship the total characters, obviously reasonably a complete lot of them are making errors within the name of love, however the truth is that the movie brings, with all this, a remarkable more human and life like tone than others of its genre. : who has by no methodology made a mistake because they fell in love, or chanced on themselves in love with the frightening person and with rotund awareness of it? Even so, and despite the merits, there are certainly some subplots that seem underwritten and poorly developed, and others that I factual assemble no longer realize why they had been added. And I’m no longer in want of a couple of of the jokes that had been being made, there may perhaps be some humor that would no longer work, even supposing the dialogue is merely and neatly written.
I misplaced count of the series of enormous actors that went into this movie. Evidently the total merely British actors of the decade made up our minds to guide a coffee and explain up. Some are more excellent, others no longer so remarkable. Hugh Grant is belief of as one of many highlights of the movie and he’s de facto merely within the characteristic he has been given, and he plays very neatly with Martine McCutcheon, who additionally does neatly in her characteristic. I additionally enjoyed the performances by Liam Neeson and his teenage stepson, Thomas Brodie-Sangster (who would later rupture out as an actor in Maze Runner). It’s nonetheless ravishing to gape the methodology their characters uncover to every varied and the intimacy that is created between them. Invoice Nighy is comical and irreverent, but I didn’t realize his subplot right here, and Laura Linney is merely at what she does, but I wasn’t captivated by the personality. The identical can even additionally be talked about of Keira Knightley (I by no methodology in particular most authorized this actress). Emma Thompson is better, and she does a merely job right here. Sooner or later, a limited note of reward to Colin Firth, and additionally to my compatriot Lúcia Moniz. It feels merely to gape any individual from our nation rapid-witted abroad, and to hear our mother tongue in a foreign movie.
The movie is rarely any longer intellectual on a technical level. Having a wager all the pieces, or almost, on the script, on the efficiency of the actors and on the very competent route by Richard Curtis, the movie is rarely any longer in particular unprecedented in these aspects, assuming a regular neutral and having almost nothing at the visible level that surpasses the authorized. There are, nonetheless, some merely aspects, related to the scenarios and the preference of filming locations, very neatly chosen and feeble.