Dean Spanley

source: Dean Spanley

If you want proof that the people running Hollywood are morons, you have it in the fact that this movie was never released in the US. It is a better film than anything else I saw this past year, and that includes The Kings Speech. If anyone tells you they don't make great movies anymore, this film is proof they do. This film is a delight... well written, acted, and directed. My wife and I have now watched it six times. Each time we discover yet another hilarious, brilliant touch. This movie is funny, 'very intelligent, uplifting, and at the same time extremely thoughtful. Peter O'Toole is a hoot. Get it (you will have to order the DVD from Canada)... watch it (it is available to download in the US).. tell your friends about it. This movie is the real deal.

I urge viewers not to read any summary of this story that reveals details of the plot or its premises. I will only say that the story is mystical and quixotic. Some will like it, some will not, but as you can see on these pages, this film has many admirers. The story starts with a narration by Young Fisk, who is visiting the elder Fisk at his home. Their relationship is strained and combative. They decide to spend the day together in a rather unusual way. It is the beginning of a journey by Young Fisk that will culminate in some discoveries and some wondrous understandings. Set circa 1910, as the motorcar becomes a symbol for the declining past and the nascent future, one of the best elements of this film, in my opinion, is its richness of tone. Scenes are shot lovingly, with an emphasis on art, and its beauty, as it occurs in architecture, painting, literature, language, music, and the enrichment of the senses. "Dean Spanley" reminds one of the joys of the well-written tale, where language enthralls. As a film, it celebrates the well-read line, the poignancy in pauses, the synergy between image and music. And it gives us some performances to be cherished. Though no performance is dissonant in this film, I particularly enjoyed the performances of Peter O'Toole as the elder Fisk and Sam Neill as Dean Spanley. Do yourself a favor and bask in their prodigiousness.

Until now it seemed that only the likes of Chris Lilley and Baz Lhurmann could successfully combine heart-rending drama with effective intelligent humour; now director Toa Fraser officially joins these screen legends after giving us this touching, comedic, original, creative pleasurable delight that will be remembered long after its cast and crew are gone. In this soon-to-be timeless classic set in early twentieth century England we see Peter O'Toole outshine all others with his performance as a tactless, bigoted, cantankerous old man by the name of Fisk Senior; Sam Neill is both whimsical and charismatic in his role as the inexplicable Dean of the film's title; Jeremy Northam manages to hold the attention of the audience as he plays the film's central character, the son of Fisk Senior and the link between its two subplots; and Bryan Brown and Judy Parfitt lead a commendable supporting cast. Fisk Junior (Northam) isn't in the best of moods as his brother has only recently perished fighting as a soldier in World War II after which his poor devastated mother died of a broken heart. Though his father (O'Toole) on the other hand was quite unaffected by this colossal harrowing tragedy but is lonely nevertheless after losing his two housemates and so his son pays him a visit every Thursday to ease his feeling of seclusion. Upon one particular Thursday he eyes an article in the paper sitting ironed to perfection on his father's desk advertising a lecture that is to be held that very day on the transmigration of souls and convinces the old man to join him in attending it. Though unfortunately the session turns out to be not quite as thrilling as young Fisk had anticipated; with him being bored to death and struggling to stay awake, and his father – finding the entire concept utterly absurd – on the verge of exploding with revulsion giving his poor son the gruelling task of restraining him. However there was in the end one thing to be gained from the experience, seated behind them and listening with great interest to the speakers words was Dean Spanley (Neill) whose most eccentric manner Fisk Junior – after meeting him – begins to find him exceedingly fascinating. So – buying a bottle of the quirky bishop's favourite dessert wine off Wrather (thankfully Brown – despite the setting of the film – retains his natural Australian accent whilst playing this character, it would have been unbearable to see our Bryan make a fool of himself putting on a phoney stereotypical British accent) a new friend made at the lecture and – to the great aversion and disapproval of his father – invites him to a dinner at his house on Thursday night. It is on this very night that Fisk discovers just how fascinating this Dean is and invites him numerous times after that to hear more of his – as Fisk puts it to his father – "wealth of knowledge." This is a must-see for every adult and young adult: it is a true treasure with its only weak points being that the explanation what I'm sure was aperfectly intriguing and imaginative concept was too rushed and subtlefor the audience to properly grasp what was being said; the final fewscenes are another thing weighing it down, after its enthralling,captivating and affecting climax the audience begins to feel that thestory has indeed reached its end and are quite ready to leave the theatre but are held up by some pieces of superfluous dialogue that are most unnecessary in rounding off the film.

The puzzle is why this film was ever made in the first place, though I hasten to add that I don't mean that as any kind of criticism. It is a gentle, rather whimsical and moving piece which I can't think would find a mass audience anywhere much, though that, too, is not meant as criticism. To put it all in perspective: thank goodness there are some people around in the film world prepared to produce films of this calibre for apparently no other reason than that they like films and like making good ones. It is a British and New Zealand co-production which astutely avoids all the pitfalls many smaller scale British films fall into. Its lightness of touch is admirable where all too often Brit films are just a tad heavy-handed and suffer as a result. There is only a small cast – just five main characters – and the story itself is superficially slight, yet it packs a punch which touches true emotion rather than mere sentimental whimsy. It would be unfair to pick out any particular performance because none stands out above the others – they are all excellent, as is the gently witty screenplay. Its evocation of Edwardian Britain is all the better for being understated – this is no 'period piece' and thus avoids the horrors just beneath the surface which many a 'period piece' singularly fails to avoid. My advice to everyone is to watch this and savour everything about it. If you like well-made films, you will probably love this. I shan't bother to provide a synopsis because that would be thoroughly misleading. There's far more to this than meets the eye.

I thought I might add an unfavourable review. This film just did not convince me story-wise. Maybe because I'm a dog lover? Also, the repressed British male relationship theme was not interesting to me - I'd rather watch The Remains Of The Day for that... Usually I like Sam Neill, but not in this. I found him annoying. Sorry, but that's the way I felt. The best this movie gave me - and that at least is for life (and beyond???:-)) is "Only a closed mind is certain" --> saw that as a signature on IMDb and then checked out the film. Sadly, it did not work for me at all. Boring. Preposterous. 3 stars for the good acting by all, but there it ends.

An incredibly pleasant and unexpected surprise. Surrender the one hundred minutes and be attentive to this incognito masterpiece - a refreshingly warm and wonderful experience perpetrated by the author, the producer, the director and consummate actors in made-for-roles. For the mature of all ages. Quote - Young Fisk: "It is a common place observation that remarkable events often have ordinary beginnings" Quote - Old Fisk to Young Fisk: "One moment you are running along, the next, you are, no more" Ziek /bamfrmcan

One can only applaud production companies willing to bankroll films as non-commercial as this. I'd be hard put to say exactly who its target audience is but I hope it finds it. It's something that could only be English despite strong elements of Hungary and Australia. It's probably just as well that the title is sufficiently insipid to bypass those in search of exploding heads and twisted metal and although I have just seen it at a Multiplex it has all the earmarks - one might even say dog-earmarks - of Art House fodder. To nutshell it we're in Edwardian England where Jeremy Northam pays a duty call each week on his eccentric father, Peter O'Toole. There had been another son who perished in the Boer War. Enter Dean Spanley, Sam O'Neill, who has a penchant for Tokay and a tendency to reminisce under its influence of the years he spent as a dog. Rounding out the principals is Bryan Brown, procurer of the hard-to-find Tokay and witness to the reminiscing. It comes together rather too well, perhaps, but remains laden with charm. Try and catch it if you're feeling pixilated.

Dean Spanley is delightful, warm, and deeply affecting. It deals with timeless topics, while recreating a rich bygone atmosphere. To hear the repartee of the four principles is priceless. The language is sparklingly literate, precise and urbane, and the choice of words and turns of phrase actually sensual to those who have a love of companionable conversation. The incomparable Peter O'Toole at the peak of his mastery, Jeremy Northam, Sam Neill, and Bryan Brown weave an immersive presentation of pure acting talent such as is seldom seen. And it is set up by top-notch writing, exquisite sets and beautiful cinematography and costuming. Mr. O'Toole can match the very best acting in cinematic history using only his eyes

Like a fine wine this film moves its way around the palette. Roles are superbly under-played; silence replaces explosion, wry smile for laughter, lingering looks without raised eyebrows. This is a play of manners, a perfectly pitched study in to the calm veil that shields all from underlying raw emotions. What's it about? Well it has men, women, dogs and wine; it is set in Edwardian England, and if having watched it you think its about man's best friend, then please avoid having children, let your genes stop with you. To me Dean Spanley was like one of those magic eye pictures; where you may stare for a long time before the mind relaxes and lets you realise what you are looking at - and in this case it is a real work of art. Be warned this is a deceptively powerful story - take tissues.