Displaying items by tag: Rufus Sewell

SCOOP

UK, 2024, 102 minutes, Colour.

Gillian Anderson, Rufus Sewell, Keeley Hawes, Billie Piper, Romola Garia, Amanda Redmond, Conor  Swindells, Jordan Kouame, Richard Goulding, Alex Waldmann.

Directed by Philip Martin.

Pre-review comment about words and changing meanings. Perhaps we think of scoop in connection with ice cream. One definition of the word is: a utensil resembling a spoon, with a short handle and a deep bowl, used for removing dry or semi-solid substances from a container. But, for quite some time, Evelyn Waugh used it for the title of his 1938 novel, scoop as: a piece of news published by a newspaper or broadcast by a television or radio station in advance of its rivals.

Many will remember the 2019 BBC interview with Prince Andrew and his connection with sexual predator, Jeffrey Epstein, criticisms of his behaviour and friendship, photos of the two, public interest especially at the time of Epstein suicide in jail. And, there are accusations against Prince Andrew. The Prince, and the Palace, agreed that he could be interviewed on the prime BBC program, Newsnight. It was meant to be a vindication of Prince Andrew. He spoke confidently but the consequences were disastrous leading to his retiring from royal functions and losing his honours.

This is a very interesting look at the background of getting this interview to air. It is a focus on Prince Andrew himself and not any analysis of Jeffrey Epstein. There have been many documentaries on this subject. Rather, the initial focus is on the brashly self-confident producer, Sam McAlister (Billie Piper), working outside expect to norms and procedures, taking initiatives to the sometimes disapproval of her colleagues. She had connections, was alert to opportunities, to meetings, phone calls, conversations. And we see in some detail how she was able to persuade Prince Andrew’s staff, especially his very loyal assistant, Amanda Thirsk (Keeley Hawes) as well as the BBC authorities.

The decision was that skilled interviewer, Emily Maitlis (Gillian Anderson) would front the interview. She is presented as confidently idiosyncratic. But she prepares, works carefully on the questions, and we see in some detail sections of the interview, her timing, her probing, and Prince Andrew (Rufus Sewell looking very much like the Prince) offering his answers. Pleased at the end of the interview.

However, the public response was very negative, the public not believing his comments about Epstein and his friendship, staying with Epstein in New York, the accusations of the young woman against him, and his remembering taking his children for a pizza, his comments that he did not sweat at the time…

While this is an interesting film with a perspective on members of the British Royal family, it is very much a film about the media, enthusiastic and enterprising producers, BBC politics, procedures and protocols, astute interviewers, and the power of television and public opinion.

1. The title, the world of media, scoops, significant stories, sensational stories, investigations, public exposure?
2. The film based on actual characters and events? Audience awareness of the characters, of the events? Jeffrey Epstein and his sexual abuse? Ghislaine Maxwell? Prince Andrew?
3. The focus on the interview with Prince Andrew? The film not trying to explore Jeffrey Epstein and his career crimes, suicide? The situation for Prince Andrew, the arrests of Jeffrey Epstein, his suicide? The photo from 2010 in the park? The situation for the media, for Buckingham Palace, for an interview, Prince Andrew and the media, the world understanding him? The backfire?
4. The film’s commentary on the media, the BBC and its aims, serious, wider audiences? The press, television, photojournalists – and the opening with the journalists trying to photograph Jeffrey Epstein, his house, people coming in and out, the young women over the years, Prince Andrew, the pursuit in the park, getting the best position, successfully getting the photo? Its being published? The effect on the Royal family, Prince Andrew, his staff?
5. The portrait of Prince Andrew, reversals performance, made up like the Prince? His mannerisms, way of speech? An opportunity for the audience to see Prince Andrew and understand him better – or worse? His staff, Amanda and her long devotion, admiration for the prince, his reliance on her but seeming not to notice? Employing the press agent, the discussions about his appearance on television, the scenes of his public work and charity? People not attending? The suicide, the pressure on the Prince? His consciousness of his mother? Memories of his mother coming his hair in the past? The decision to go on television, the meeting with Emily Maitless and Sam McAllister, the presence of the Princess Beatrice, her frank comments about her father and reputation? His agreement for the television interview?
6. Sam McAllister, the film based on her book, her role as producer, determined, the background of her mother encouraging her, her son and his girlfriend, and her care for him? The role of the BBC, the prospect of sackings? Her way of producing, going out, the criticisms from the other members, the contact with Amanda, at the palace, going out for a drink, the issue of Jeffrey Epstein, her discovering more, Prince Andrew, with Emily meatless and the other produces? Her not being included, her mother’s advice, going forward? Involved? Her continued presence?
7. The BBC, the program, Newsnight, Emily Maitlis and her reputation, personality, dog, the walk in the park, changing attitudes towards Sam? The meeting with the prince, the decisions, the BBC officials, the Director at the Opera, the go-ahead? Her preparation, the staff in discussions about the questions, the device of having her ask the staff the question and testing it, the Prince and sharing answers to his staff? Raising the issues? The protocols, the table, the room, distance apart, what to wear?
8. The probing of the issues, Jeffrey Epstein himself, his way of life, the island, mansions, the girls, the trafficking? The encounter with Prince Andrew? The Bill Clinton references and Emily Maitlis angry at Monica Lewinsky’s treatment and misogyny? Mention of Trump? The arrest, the case, imprisonment? Ghislaine Maxwell and the princes friendship? The contacts, the parties, the dinners, 2010, the Prince staying at the house, breaking ties? The photo of the Prince, Virginia Jgiuffre and her testimony, the Prince and his memory and denials?
9. The actual interview, based on the real interview, the audience getting the chance to see Emily Maitlis, thinking, probing, questions, giving the Prince space to speak as Sam recommended? The responses of the as one, confident, hesitations, excuses, the issue of the dates, the pizza, his daughters, the sweating? His satisfaction with the interview? And the palace?
10. The preparations, the promotions, the night itself? The audience? The immediate responses, online responses, the condemnations of the Prince?
11. The reaction of the palace, the Queen, his being relieved of his duties?
12. The film and the probing of the Jeffrey Epstein case, abuse, victims, the final comments?
13. The film and the Royal family, problems, public relations?
14. The film as illustrating the role of the media, journalists, producers, scoops and ratings, reputations?

THE TROUBLE WITH JESSICA

UK, 2023, 89 minutes, Colour.

Shirley Henderson, Rufus Sewell, Olivia Williams, Alan Tudyk, Indira Varma, Sylvester Groth, Anne Reid.

Directed by Matt Winn.

There has always been trouble with Jessica. She is a novelist, sometimes reclusive, manipulative, tantalising in her relationships, and has just published a novel with references to her friends. She has turned up at a dinner at Sarah and Tom’s house, not entirely welcome. Sarah and Tom are also hosting a couple who have been long-time friends, Richard and Beth.

At first, this seems to be a variation on the Who’s Afraid of Virginia Woolf kind of gathering, some surface pleasantries, then difficulties emerging, criticism, insults, tantrums. But, after 15 minutes, looking for Jessica, they find she has hanged herself in the garden.

While the angry interchanges of the Virginia Woolf kind continue throughout the film, The Trouble with Jessica then becomes a variation on the theme: how do you conceal, then get rid of the body. This idea was popular in some of the small budget comedy thrillers of the 1930s. However, it became a significant theme when Alfred Hitchcock made The Trouble with Harry, 1955. In fact, Agatha Christie use the theme in The Spider’s Web. And, at the end of the 1980s, there was the American comedy, Weekend at Bernie’s. What to do with the body? How to conceal it?

The two couples are middle-aged, have known each other since they were young. After the shock of Jessica’s suicide, Sarah, who had had an altercation with her, takes charge, wanting to conceal the death, with a plan for the body to be transferred to Jessica’s house and set up as a suicide there. Tom more or less goes along with this plan. One of the reasons for the plan is that they are in financial difficulties, need to sell the house, have an eager client who wants to buy and they don’t want a body to be in the house when they come to inspect.

Richard is a practising lawyer, defence lawyer, quoting legal practice but somehow rather persuaded to join in the plan by Sarah threatening to reveal some dubious actions in the past. Beth, on the other hand, want to immediately go to the police, dials 911, the police turning up, pleasant exchanges, one of them discovering the desert, one of his favourites! And, a neighbour comes to the door eager to meet the writer and to get her to autograph a book.

With a lot of interchanges and recriminations, exposures of each of the characters, Richard having had an affair with Jessica and Beth’s wanting a divorce, Sarah being dominating, Tom acquiescing. The prospective buyer turns up to look at the house, the concealing the body under the stairs, the visitor wanting to look inside the cupboard, their getting the body upstairs, his leaving.

The atmosphere license, Sarah standing guard, they get the body into the car, drive to her flat, a police car pulling up beside them at a red light, a couple in the corridor, but they get the body into the room and the set up.

On the return, the prospective buyer, an affluent German businessman, returns, elicits the secret from them, wants to settle the sale immediately and, with some moments of hesitation, there is agreement. Sarah and Tom is saved but Sarah suddenly changes her attitude, wants to call the police. This is all to do with a reference in Jessica’s book and Tom, while the audience obscene flashbacks, admits an occasion with Jessica before they met. Richard then confesses that he has had the affair but, by this time, Beth has somewhat calm down after participating in the setting up of the suicide.

The film has a top cast, Shirley Henderson top lining the film as Sarah, with American Alan Dudek is her husband. Rufus saw and Olivia Williams are the other couple. And the cameo scene of the neighbour wanting the autograph – and it was an angry when the car with the body is about to leave and she is upset that the author will not come out of the car – played by Anne Reid.

There is one barrier that many commentators have noted – the proliferation of swearing throughout the film, judge it excessive, and many surprised at this group of actors, including Anne Reid, prepared to mouth such constant coarse language.