“19人が織り成すそれぞれの愛のカタチーそれはあなたの物語。”
ロンドン。英国の新首相デヴィッドは着任早々、秘書のナタリーに一目ぼれ。最愛の妻を亡くしたダニエルは、妻の連れ子から恋に悩んでいると明かされる。作家ジェイミーは、言葉が通じないポルトガル人のメイドに好意を。3人の子どもがいるハリーとカレンの夫妻だが、ハリーは会社の若い部下と浮気をしていた。ハリーの会社に勤めるサラは入社以来ずっとある同僚に片思い中などなど、人々はさまざまな想いを胸に聖夜を迎えていく。
製作費: $40,000,000 (60億円)
興行収入: $250,779,876 (376億円)
推定収支: $210,779,876 (316億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: Richard Curtis
脚本: Richard Curtis / Emma Freud
音楽: Craig Armstrong
制作: ティム・ビーヴァン / エリック・フェルナー / Duncan Kenworthy
撮影監督: Michael Coulter
制作会社: Working Title Films / DNA Films / StudioCanal
高校のセミナーでの宿題でPeacockで無料視聴。 家族で一般知識を学ぶために見る外国映画を除き、このような恋愛の絡んだ映画を自分で見たことがなかったので、自分のペースでゆっくりとみれました。いろいろとツッコミどころはありましたが、アメリカに住んだ身としてイギリスの雰囲気も知ることができてよかったです。まあちょっと途中からキャラクターが多くて誰が誰と恋しているのかが、わからなくなった感はありました。 こういう作品のドキドキのシーンでにやけてしまう自分が嫌になります…。
God only knows what I'd be without you. London, England, and it's the run up to Christmas, and we are in the company of a number of couples dealing with the joys and problems that love can bring. We open with a narration from Hugh Grant who tells us that when he is troubled by the hate in the world, he thinks of the arrivals area of Heathrow airport. A place where loved ones greet returning loved ones, a place that indeed showcases a strand of love in its joyous form. He further ventures that when the aeroplanes hit the twin towers on 9/11, as far as he knows, all those phone calls from those sadly involved were messages of love, not hate. Pertinent musings that although somewhat sombre for an opening, sets it up nicely for what Richard Curtis (writer and director) wants to say. A roll call of fine British and Irish actors, and American Laura Linney, lend their considerable talents to Curtis' ensemble piece. The structure is surprisingly simple considering the number of stories being woven together, the result being that there is sure to be a story in there to either love, or, yes, even hate. Is it sentimental? Of course. Is it as stuffed as a turkey on Xmas day? Naturally. Does it stretch credibility in some strands? For sure. But only the coldest of hearts could truly decry that Love Actually is all around. Very often it's funny too. Curtis, following on from writing credits such as Four Weddings And A Funeral, continues to show himself to be a very fine writer of comedy. None more so than with Bill Nighy's past his sell by date pop star, Billy Mack. There's something for everyone in here, indeed there's likely to be something that many can associate with. It's a lovely affecting film that should hopefully perk up those that get blue around the holiday season. With perceptive writing, some excellent acting (Nighy, Emma Thomson, Colin Firth et al) and a soundtrack of some worth, Love Actually is a winner. 8/10
Love Actually coulda been somebody; it coulda been a contender. There were scenes and characters I loved, but the movie was all but ruined by the irritatingly bad bits. They could have dropped two entire subplots and raised the quality considerably: I am thinking pf the needlessly crass over the hill singer with the Christmas song competition, and the male fantasy thread about the idiot going to Wisconsin and encountering three shapely nymphomaniacs. The time saved cutting those scenes could have been allocated to Laura Linney’s special needs brother and her infatuation, a plot that just petered out near the end, and to the Emma Thompson character’s marriage, which showed promise but similarly fizzled out with a half-hearted scene at the end. Or they could have given more screen time to Natalie, the prime minister’s love interest, who stole a few scenes and deserved many more. So it was fun in places and touching at other times, and I can just about see myself watching this star-studded near-miss again, as long as I can keep a finger on the fast forward button.
**Bringing together several plots, the film is not about love, but about Love in its most diverse facets… and not always happy.** Unlike most romantic movies, which stick to a sugary story and follow it to the end, with the invariable marriage at the end, and everything in rosy, this movie seems to care more about love itself. , as a feeling. In fact, there are nine sub-plots involved and each one explores a different facet of love: we have teenage love, we have illicit loves, we have unlikely romances, we have love triangles, we even have a love that blossoms without one or the other. speak the same language… and all during the pre-Christmas times! So I won't waste time sifting through each plot, maybe it's for the best. The movie could have gone terribly wrong, but the truth is that it works reasonably well. It's not a film where we can like all the characters, obviously many of them are making mistakes in the name of love, but the truth is that the film brings, with all this, a much more human and realistic tone than others of its genre. : who has never made a mistake because they fell in love, or found themselves in love with the wrong person and with full awareness of it? Even so, and despite the merits, there are indeed some subplots that seem underwritten and poorly developed, and others that I just don't understand why they were added. And I'm not in favor of some of the jokes that were being made, there's some humor that doesn't work, even though the dialogue is good and well written. I lost count of the number of great actors that went into this film. It seems that all the good British actors of the decade decided to book a coffee and show up. Some are more prominent, others not so much. Hugh Grant is one of the highlights of the film and he is really good in the role he has been given, and he plays very well with Martine McCutcheon, who also does well in her role. I also enjoyed the performances by Liam Neeson and his teenage stepson, Thomas Brodie-Sangster (who would later break out as an actor in Maze Runner). It is still beautiful to see the way their characters relate to each other and the intimacy that is created between them. Bill Nighy is funny and irreverent, but I didn't understand his subplot here, and Laura Linney is good at what she does, but I wasn't captivated by the character. The same can be said of Keira Knightley (I never particularly liked this actress). Emma Thompson is better, and she does a good job here. Finally, a small word of praise to Colin Firth, and also to my compatriot Lúcia Moniz. It feels good to see someone from our country shining abroad, and to hear our mother tongue in a foreign film. The film is not brilliant on a technical level. Betting everything, or almost, on the script, on the performance of the actors and on the very competent direction by Richard Curtis, the film is not particularly remarkable in these points, assuming a standard aesthetic and having almost nothing at the visual level that surpasses the average. There are, however, some good aspects, related to the scenarios and the choice of filming locations, very well selected and used.
Seen this one several times over the years and still so good, though the whole Colin Firth storyline didn't quite connect but cute nevertheless. Just a great ensemble — Alan Rickman, Liam Neeson, Bill Nighy and Hugh Grant were standouts — with plenty of heart and charm with risqué humor that doesn't get gross. Great movie for both Christmas and Valentine's Day. **4.0/5**
