The Look of Love Reviews
Let me start by saying that this film, while not all that demanding with its exposition as an "extensive" biopic, is seriously underdeveloped, offering only so much exposition to get you associated with the leads, who are conceptually colorful characters, but often simply come off as questionable sleazeballs, due to limitations in flesh-out. Okay, now, the characters aren't that distancing, or at least not as distancing as they could have been, - thanks to highlights in writing and acting - yet in a lot of ways they remain too undercooked for their own, and wouldn't get to that point if the film wasn't eager to sum up the life and times of Mr. Paul Raymond, hurrying in a way that not only further hurts expository wealth, but gets to be kind of repetitious before too long. As surely as the characters stand to be more repelling, storytelling stands to be more slam-banged, but the film, covering a lifetime within a 101-minute window, loses focus at times, whether when it's dragging along, or struggling with its juggling of the layers of this narrative, whose transitions are sometimes too swift to be smooth. Of course, focal unevenness is not only detrimental here, for although it can't be all that easy to tastefully interpret the story of an intelligent, but sleazy man who is best known for his impact on erotic entertainment, even when you take this drama for what it is, it still gets confused with its layering, undercutting dramatic kick by jarring in its leaps between lively fluffiness and, well, "relative" seriousness, but at least keeping consistent in familiarity. With all of the underdevelopment and unevenness, the flaw that is likely to stick out the most is simply conventionalism, as this is yet another mid-profile biopic of its type, having little, if anything new to offer as a weapon against intrigue limitations, which are indeed there, because even though Paul Raymond's story is interesting, he's just not quite as interesting as the focuses in certain other films which are too much like this one. I'm not saying that there's a whole lot potential here, but the final product leaves much to be desired as it tells a familiar story in an undercooked and uneven fashion that prevent the effort from achieving a genuinely rewarding status. That being said, the final product doesn't fall so short that it doesn't engage just fine, and with style no less.
Even the film's musical style is worthy of some praise, as the generally very '60s and '70s score and unoriginal soundtrack is not only suavely enjoyable by its own delightfully entertaining right, but complimentary to the selling of both the liveliness and the setting of this film, whose environment is further brought to life by Carly Reddin's art direction, which restores the colorful look of the '60s and '70s (For the record, it dips into the '80s, but it still prefers the flavors of the '60s and '70s), further flavored up by the capturing of the glamour of Paul Raymond's lifestyle, and even by dashing cinematography. Hubert Taczanowski's cinematography isn't exactly stellar, but it's still very, very strong, playing with the dark depths of colorful visuals in order to capture the handsome sleaze of its risky subject matter, and look fabulous along the way. It's debatable whether or not this film looks as good as many of its female cast members, but make no mistake, it still looks excellent as a highlight in the stylistic sharpness, which isn't to say that there aren't commendable areas within this stylish biopic's substance. Even with the formulaic storytelling taken out of account, this film's subject matter has only so much intrigue, and is, in quite a few ways, sleazy to the point of featuring questionable characters and plot elements, yet through all of that, this is still a generally interesting look at the rises and falls of a controversial erotic "arts" tycoon, complete with liveliness and human trials which are sold just fine by Matt Greenhalgh's script. Greenhalgh's script is perhaps stronger than Michael Winterbottom's direction, at least when it comes to attributes beyond style, and it's still, uneven, hurried and all around pretty flawed, yet it remains brighter than some are giving it credit for, with sharp dialogue, - highlighted by clever humor - and organic layering to match unevenness and give you a feel for the depths of the characters who drive this biopic, and are themselves truly brought to life by a colorful cast. There's not a whole lot for the performers to work with here, but reasonably memorable and convincing performance can be found across the board, especially when it comes to the leads, with Imogen Poots being all but revelatory as a powerful man's spoiled and corrupted daughter on a road to ruin, while leading man Steve Coogan turns in a decidedly revelatory performance, immersing himself in the role of Paul Raymond with his usual sparkling charisma, broken up by moving dramatic beats which show that Coogan can do more than evoke chuckles. The film has its flaws, but the more you get used to it, the easier it is to pick up on its strengths, of which there isn't enough for the final product to be as rewarding as certain other biopics of its type, but are bound to keep you frequently engaged, or at least entertained, in spite of the shortcomings.
When the book is closed-I mean, when the look is... closed, or something (I confused myself with that opening paragraph that rambled on about "The Book of Love"), considerable underdevelopment, repetition and even some unevenness spawn from hurrying, while much too much familiarity reflects the natural shortcomings of this subject matter enough to drive the final product short of rewarding, but there's still enough sharp style, - formed from a fine soundtrack, colorful art direction and lovely cinematography - intriguing subject matter - done a fair amount of justice by clever writing - and charismatic acting - particularly by revelatory leading man Steve Coogan - to make Michael Winterbottom's "The Look of Love" a faulty, but nevertheless entertaining and sometimes dramatically engaging portrait of one of the more influential mid-20th century pornographers.
2.75/5 - Decent
Steve Coogan plays Raymond in this Michael Winterbottom helmed picture.
I tried to dissociate Coogan from his most famous creation Alan Partridge. In some scenes this was difficult.
Winterbottom and Coogan were also behind the excellent 24 Hour Party People film about Manchester journalist and music mogul Anthony H. Wilson.
After all the hype was looking forward to this but it is distinctly average.
One of the interesting moments were the on screen where are they now titles at the end of the film.
In many ways its Austin Powers but with an excellent cast albeit in terrible wigs. Would epect better from Winterbottom.
Coogan plays Paul Raymond the so called King Of Soho who would build his empire on erotica and eventually although he doesnt like to admit it pornography.
Coogan gives a good performance but the film is tedious in its execution and it also lacks a real focus.
Winterbottom seeems to want to focus on the excess and that it drugs are snorted and sex is performed but it all feels a bit flat .
Unlike 24 hour party people where the casting of comedians added to the films shambolic charm, the casting of Chris Addison and David Walliams feeels like an afterthought and there parts are eriously underwitten.
Of the female cast Imogen Poots puts in a great turn as Raymonds troubled daughter Debbie but Anna Friel is wasted as Raymonds first wife .
My own personal belief about Paul Raymonds life is that it would have made an interesting documentary rather than a film which tries to pack too much in and leaves its lead actors stranded.
A huge bore then and thats a real shame
The beginning of the film is London in 1992, and from that moment I was caprivated and glued to the screen. Paul Raymond (Steve Coogan) has returned to his flat after attending the funeral of his daughter Debbie (Imogen Poots), and putting a videotape of a TV programme they took part in, starts reflecting on the ups and downs of their life.
In the late 1950s, Raymond was an impresario on the seaside variety show circuit where he is making a name for himself by adding semi-nude women to his variety acts. As a colourful character, he doesn't stop there and in the early 1970s he moves into theatrical revues... here he meets actress Amber St. George (Tamsin Egerton) and soon his marriage ends... from there on is a real fast-speed ride in a hedonistic, coke-fuelled lifestyle.
Very personal, warm story, of a father who was the richest man in Britain at the time but who never recovers after his daughter's suicide. Outstanding performance of Steve Coogan in which he shows that he is not just a comedian but a fine actor as well, showing amazing skill to portray a man who made money destroying all emotional entanglements in his life, transformed in rare moments to a loving father and grandfather. This is not a comedy, the life of this "successful" man is presented more as a tragedy, and we could watch how this modern King Midas is making to the top at the cost of losing those closest to him, just to ask himself: was it worth it!?