Although the film's title suggests there might be some deeply relevant British national allegory in the film post-colonialist comedy fans shouldn't get their hopes up. The plot of Johnny English such as it is goes something like this: The title character a bumbling junior-level spy (Rowan Atkinson) is suddenly thrust into active duty when every other agent in the British Secret Service is blown to smithereens during a bombing at a fellow agent's funeral. When the Crown Jewels are stolen it's up to English to discover the culprit and in the process he unearths a plot to replace the Queen of England with a French entrepreneur who has some pretty nasty real estate development plans for Merry Olde Blighty. It's a sorry excuse for a story sure but such paltry fare as plot character development and dialogue don't matter much when you connect the bits with U.K. fave Atkinson hamming it up in his trademark blundering way. And he really is funny in this movie--maybe not pee-your-pants funny but certainly hoot-out-loud funny. As with any spy spoof some of the shtick works and some doesn't but on the whole Atkinson and Co. do a good job in spite of the contrived script and pithy lines writers Neal Purvis Robert Wade and William Davies have pieced together for them.
If Cervantes' Don Quixote were a modern-day spy this would be his story. Atkinson tilts at Johnny English's windmills with the vigor and extravagance fans of the comedian's trademarked physical comedy have come to expect. Whether he's crashing a funeral pantomiming to ABBA in front of his bathroom mirror invading a hospital with guns blazing or getting his tie caught in a sushi bar conveyor belt Atkinson gives this movie's hackneyed scenes personality they probably wouldn't have had in any other actor's hands. Comedian and fellow Brit Ben Miller takes his first strokes across the pond as English's sidekick Bough playing Sancho Panza to Atkinson's Quixote to fairly good effect. The real "straight man" in this farce however is Natalie Imbruglia as love interest Lorna Campbell. The girl can't act her way out of a paper bag but when you look the way she does in leather pants and stilettos talent is beside the point. John Malkovich is underutilized as the villain Pascal Sauvage whose anti-English (that's the nation not the spy) sentiments have driven him to lay claim to the throne of England which he plans to use for nefarious purposes.
Based as it is on a character Atkinson created for a TV commercial for a major British credit card it's not surprising that the characters in Johnny English are far more entertaining when they're improvising 60-second physical comedy scenes than when they're attempting to further the so-called plot. What is surprising is that such pedigreed moviemakers as director Peter Howitt (Sliding Doors) production company Working Title Films (producers of Elizabeth Fargo and Billy Elliot) and producer Mark Huffam (The Hours) are attached to such a silly film. Then again everybody needs to let loose sometime; maybe this is their idea of a vacation.
February 13, 2002 10:10am EST
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?