New posts

Reply to thread

Message: <blockquote data-quote="Mel O&#039;Drama" data-source="post: 406642" data-attributes="member: 23">Personal Services (1987) <img src="https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Fwww.pastposters.com%2Fcw3%2Fassets%2Fproduct_expanded%2FJamieF-EW%2Fpersonal-services-cinema-quad-movie-poster-(1).jpg&f=1&nofb=1&ipt=ca6206af90c7236720c50a18afe36c0382898c2f5d002b6ef0e5e931b56734e8&ipo=images" alt="" class="fr-fic fr-dii fr-draggable " style="width: 855px" /> A disclaimer at the beginning and the end of the film goes to great lengths to let the viewer know that while the author was inspired by the story of Cynthia "House Of Cyn" Payne, this isn't her biography. I assume this was either to prevent legal action or an outcome of the same. It's one of several films that came out of the Eighties Top Ten round and while I'm clearly too late to throw this one in there, it's still good to have good reason to finally watch it. I can see why it passed me by the first time, since I was still at school and quite naïve (not that this had stopped me enjoying stuff like the Confessions films and the film Julie Walters made before this one, 1986 sex comedy Car Trouble). I've not read or watched the Fifty Shades series (though I'm consistently told that the films are rather twee considering their reputation), but I can't imagine there's much there that wasn't covered in Personal Services. Two key considerations with this film, though, are that it's as tasteful as can be in the circumstances, and it has tongue firmly in cheek. Despite its subject matter and all the inherent sex references coming from that, this is ultimately a film that shows sex work as prosaic and and almost dreary, while showing sex workers as possessing grace, humour and bundles of humanity. Julie Walters' accessibility helps greatly. I loved her getting the giggles and making awkward conversation when her first client arrived, before gagging when she realised he wanted oral sex (as did all her clients at first since she'd copied the phrase "French Polishing" for her advertisement, not realising exactly what it meant). Her reactions to the role playing, too, kept it human. Giggling at the sight of Shirley Stelfox punishing a middle aged man dressed as a schoolboy, or showing visible boredom when pretending to be a lesbian schoolgirl. The comedy is very real and her timing spot-on. There are so many little looks that are timed to perfection, such as the sharp head turn she does as Shirley briefly leaves the room during a session (evidently afraid that she's being left to finish the job on her own). The moment that made me laugh the hardest was where she finds a tiny pair of fur-lined panties lying round and picks them up to inspect them as though she's handling an explosive, face grimaced in borderline confusion. She puts her hand inside and the very second it emerges from front (revealing them to be crotchless) the door buzzer goes sharply and she jolts. It's a silly, almost throwaway moment, but it's pure Julie Walters. But it's in the balance between this life and her personal one where she shines. This is especially evident in scenes with her father, and the ups and downs of her relationship with him are what makes this film. Arguably the film's strongest dramatic moment comes in their confrontation in the park on the day of her sister's wedding, where ugly truths are spoken, almost to the point of catharsis. Terry Jones's direction helps set the tone. He (understandably) shows far more restraint than he did in the Python films, but there's an undercurrent of the requisite quirk. The already-mentioned Shirley Stelfox is one of the best things here, gamely throwing herself into each new scenario with great vigour. She dominates as if to the manner born, she jets off to please a sheik, then she returns and goes to the greasy spoon where she orders a steak, sparks up a fag and has a giggle over the various sizes and shapes of her clients' bits. And on top of this she pays her rent on time. I'm currently watching 1986 Brookside where her character - mousy Madge - hasn't been seen for some time. Presumably because Shirley was filming this. The two are worlds apart, and I can imagine what great fun she had switching hats and getting stuck into this Shirley. Their clients include Yes, Minister's Sir Frank Gordon, Blakey from On The Buses and Ever Decreasing Circles' Howard. And the cast is filled with very faces very familiar to anyone who knows the British entertainment world. There are thespians and character actors alike, most of them as you've never seen them elsewhere. This is a film that knows what it's about, and it's really about poking fun at British sensibilities (and hypocrisies) when it comes to sex. It dusts off what goes on behind closed doors, gives it a good airing and doesn't apologise for it. Rather like Christine/Cynthia herself. (Needless to say, low-key spoilers and mild sex references within): [MEDIA=youtube]p7YONnBQwyw:50[/MEDIA]</blockquote>

Verification: Who played Sue Ellen in Dallas?