Starring Michael Caine, Bob Hoskins, Helen Mirren, Tom Courteney, David Hemmings, Ray Winstone.

While it is not unusual to refer to a director as extraordinary and brilliant, Australian director Fred Schepisi (who brought us Six Degrees of Separation, A Cry in the Dark and The Chant of Jimmie Blacksmith) redefines the benchmark with a film of enormously understated mastery. Based on the Booker Prize-winning novel by Graham Swift, the premise is simple: three old Londoners, friends for decades, gather to carry out the last wishes of a fourth friend, together with the dead man’s son. On the journey to scatter his ashes, the four men revisit their shared past and privately untangle the threads of their memories. The flashbacks are seamless and exactly as we might experience them in our own lives – stimulated by an ordinary word or a sight that has significance from the past – giving meaning to the present and allowing reflection on who we are and were.

Watching these consummate British actors unravel the inner and outer worlds of their characters’ experience answers a question I’ve often asked myself, as those of us might who wonder how we would turn our lives, ordinary but intensely rich and full of private meaning, into a movie. How does one sustain interest in the portrayal of run-of-the-mill human life? A suburban butcher and his family, an undertaker, a greengrocer and a professional gambler are hardly heroes. There hardly seems to be the material for drama here, yet there is normal human passion, bitter disappointments, a few shady dealings, denials and suppression, resentment, loyalty, betrayal and great love. All of these are faithfully represented and believable. Perhaps it is precisely because the story is unremarkable, because the film is driven by characterisation and superb actors who excel at being the common man that the glimpses we get of their inner lives interwoven with their actions are so recognisable. There is no need for special effects, fancy camera work or visual extravaganza, symbolism or contrived plot twists. There are plot and character development, dramatic tension, and surprise. There is the resolution that comes with the death of one character, while life for the rest goes on. All unfolds as life does and it is absorbing. The sweetly appropriate music of fellow Australian Paul Grabowski gently underlines the mood and is suitably unobtrusive.

The emotional depth individual actors bring to this film is possibly the most powerful element. Michael Caine is brilliant as the cocky, charismatic Jack, whose death is the centre of the story. His cheeky, good-humoured younger self is played with astonishing similarity to the older actor by JJ Field and at times it is difficult to remember that this is not the young Caine. Bob Hoskins is an apt foil for Caine as Jack’s long-time mate from the war, Ray, whose honouring of a promise brings a wholly unexpected reward. Helen Mirren is wonderful as Amy, Jack’s wife, whose spark matches his and whose love allows acceptance of both the great disappointments in their life as well as of Jack’s inability to come to terms with them. The dignified, solemn undertaker Vic (Tom Courteney) and the alcoholic greengrocer Lenny (played by a belligerent and volatile David Hemmings) each have unresolved questions and issues needing the closure this last gesture to Jack affords them. Ray Winstone as Jack and Amy’s son Vince gives a performance of great subtlety, mutely showing the underlying love and respect he has for his father beneath the conflict that exists between them.

Some specific scenes stand out: on a bench near the Thames wall, the delicate interplay of emotions between Ray and Amy as they talk about their experiences with Jack is deeply tender, as is Amy’s last visit to her and Jack’s intellectually disabled daughter, June (Laura Morelli). The scenes between the young Jack and Amy (Kelly Reilly) in the hop field where they meet and as their relationship develops are simply lovely, the powerful attraction between them tangible and immediately felt.

Above all this film beautifully shows the honour and acceptance the living characters have for their dead friend, father and husband. Jack’s last orders give each of them an opportunity to give back to the man who has been the centre of their circle for so long, and while things will never be the same, the future is fine. An uplifting film, not least because of the privilege we feel to be invited so intimately into the lives of these very special ordinary people.

© Avril Carruthers    13th July 2002