No synopsis available.
AIが作品の魅力を深く読み解いています
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
監督: Ian Sharp
脚本: Vernon Coleman / Malcolm Stone
音楽: Alan Lisk
制作: Richard Hallows / Andy Birmingham / Simon A. Maudsley
撮影監督: Sue Gibson
制作会社: Evolution Films
This was an entertaining and amusing little comedy. It was fairly well-written, except for cliched bad people here and there. The time shifts were also a little awkward at the beginning, but that cleared up after a bit. The cast included a half-dozen familiar British performers that I have seen in previous tv shows. Pauline is a treasure and a pleasure to watch. I was wondering how they would come up with a satisfactory way of wrapping up the film, but they thought of a believable one that hadn’t occurred to me. If it weren’t for the cliched scenes and characters I would be willing to watch it again. As it is I didn’t regret the time spent on it.
When some cricketing force majeure robs “Thelma” (Pauline Collins) of her overbearing husband, she can finally look forward to some years without bothering about his chrysanthemums or aversion to tuna. Unfortunately, her rather venal son “Derek” (Peter Capaldi) and wife “Veronica” (Anna Wilson-Jones) have other plans and before she knows it, “Thelma” has been bundled into a care home where she is expected to take her pills and behave herself. Her observations after a few days, though, lead her to believe that this cannot be what her future holds. Allying with nurse “Gina” (Angela Bruce) she begins to sow some seeds of mischief despite the controlling efforts of boss “Hawksmoor” (John Alderton) and the domineering matron (Isla Blair). She also quickly realises that many of her fellow inmates have plenty of life left in them too, and so an illicit trip bowling ensues and then a veritable revolution that sees them fine dining on egg, chips and wine before her leading a large-scale walkout. Taking refuge in a local hotel, they attract some local media attention with her giving interviews galore and causing no end of embarrassment for her slimy son - who just happens to work for the company that owns the care home and the hotel. The message here is clear and that’s that we ought not to be writing off the elderly by zombifying them for profit and convenience, and although it pings fairly and squarely at corporate greed it also takes a swipe at disinterested offspring who don’t or won’t take the time for their parents either. The ensemble cast is what really makes this: a potpourri of familiar British faces delivering characters with an amiable collection of eccentricities and ailments as well as an version to all things cabbage, and it’s written in a gentle and breezy fashion to keep us smiling rather than laughing. Look out for a lively and lovely contribution from Sheila Reid (and a bit of Ivor Novello) and a suitably hammy one from Tony Robinson showing up the facileness of the television chat show host, too. It’s good fun, this.
