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Underground > Film, TV & Theatre >

The Limey

We're The Great Old Ones Now

20:20 / 25.02.02

I like it. Why does everyone else think it's terrible?

Elijah, Freelance Rabbi

09:01 / 26.02.02

because they all secretly hate you

09:16 / 26.02.02

I don't think it's terrible; I think it's rather good.

People hate it probably: because of Stamp's accent, because they either think it borrows too much from Point Blank or because they haven't even seen PB and thus the prototype of the tough revenge movie; because they don't want to like a film with Peter Fonda in it; because they don't think it's Soderbergh's best film, and so it's OBVIOUSLY dreadful; because at its heart, it's really not that complicated. It's a wonderfully simple movie, uncluttered by the desire for drastic plot twists and the like. It proceeds from an initial spur to revenge, albeit not that chronologically.

I guess it's not an easy film to like, but it was such a pleasure to watch, and didn't outstay its welcome; it also, despite that accent pulls off the whole "stranger in a strange land" thing.

It's very good. It's just unusually simple, unusually uncluttered, and simplicity isn't trendy at the moment.

That's my take, anyhow.

09:24 / 26.02.02

I think it's fabulous. Best 'B' movie in 15 years. The editing rocks and the camera is beautiful. I was praying he'd leave the camera outside when Wilson goes back into the warehouse at the beginning. The whole thing is kinda breezy, but in a much more affecting way than Out of Sight, for which this is definitely a more serious companion. I'd argue that The Limey is as good a cinematic meditation on memory as Last Year At Marienbad - the editing perfectly carries the idea of Wilson meditating on his life and relationship with his daughter. The film goes far beyond the simple trick of old footage, new film - something I was afraid of.

I'll admit that I also think Peter Fonda's characterization of Robert Evans, old Paramount producer, is hilarious. It's note-perfect. (Check the Bob Evans interview on the region 1 Chinatown DVD for comparison points.)

Tom - saw the other day that you don't dig it. Why? I don't see the insult to England. But I'm not English. (I do agree that Don Cheadle's Ocean's 11accent was awful though.)

[ 26-02-2002: Message edited by: videodrome ]

09:41 / 26.02.02

I thought it was great film...that first bit when the door is opened to Stamp and he sounds almost alien in that lanscape is brillient...amazing use of sound...light...poor cow...all good....

and he's hard as nails...

What do people think of The Hit?

09:41 / 26.02.02

Videodrome: my thoughts exactly on the warehouse at the beginning. And once I'd seen that, I felt relatively confident the rest of the movie would be pretty good too.

The Hit was OK; not as good as the Limey. Stamp still excellent, and Tim Roth pretty good, I found that John Hurt was just a bit too much of a charicature to take seriously. Didn't quite find it as beautiful as the Limey, but pretty good to watch anyhow.

I also think videodrome's description of it as a "B-movie" is perfect; that's one reason why it's short, not complicated, not overloaded with dead ends. And apparently that's not what people want. Oh well. It's great. (I now want to watch it again, but the video's at home. Grr.)

09:41 / 26.02.02

Actually I really like it - I think it's quite a nice little film. On the other hand, Terence Stamp sounds like a mincing old queen who USED to speak proper east-end, but then went to drama school and ironed out all his kinks and now can't quite carry the accent off without looking like he'd rather be sipping a martini and thumbing through some chaucer.

I thought it astonishing that Soderbergh couldn't even get a convincing english accent out of an English person....

The Return Of Rothkoid

09:41 / 26.02.02

TELL 'IM I'M COMING!

I've yet to meet anyone (who's actually seen it, mind) who didn't like The Limey. It seems to have it all - as most of the posts here have said - in a very "B" way. There's a lovely fluidity to the shooting, and there's something quite satisfying about Stamp's resilience and appearance in it. It's judged just right, though the rhyming slang is a bit off - but then, that's a Soderbergh thing, if Cheadle's "Barney Rubble" bit in Ocean's 11 is anything to go by. True, it does pull a bit from Point Blank, but I think it's just taking that whole idea of laid-back California that pervades some films, and using that to offset the massive tension that's brought Wilson to the US in the first place. A nice balance, methinks.

If you get the chance, watch the flick with Soderbergh (and the writer or producer?, whose name I've forgotten?) commenting on the action. It's great; particular invective is directed towards a certain journo...

The Hit was a real surprise-package for me. Stamp's accepting calm as the grass who's been waiting for the killers to come is fantastic - which is possibly why the ending is so unsatisfying, in my view; it lets the rest of the film down by collapsing into something that seems uncharacteristic of the hard-nut figure Stamp's meant to be. All the way up to that, though, it's incredibly interesting; much like a quick sketch of Wilson-to-come, it's a good b-flick made on a sub-TV-movie budget. Retitled (ie: get rid of the fucking neon-look cards) and without the wanky Clapton-toss opening theme, I think it'd go great guns on a rerelease.

Tim Roth, however, is great as the easily-swayed wideboy...

We're The Great Old Ones Now

09:41 / 26.02.02

I'm fascinated. I love The Limey, to the point where I'm immune to Stamp's accent, but until now (because of the reactions of my friends when I mention it) I thought I was the only one. Hence the question.

Live and learn.

The Return Of Rothkoid

09:41 / 26.02.02

Interestingly, I thought his accent was OK in the film, except for when he did the rhyming slang. Hmm.

Small snippet: Michael Caine and Terence Stamp once shared a flat in London - early 60s, I think. I like to imagine their arguments over who left the milk out...

quote:Question three: Following Terence Stamp's performance in Priscilla, Queen of the Desert, would you consider acting in drag?

MC: Well, I've already done my drag film, which was Dressed to Kill, and I must say that Terence looked very, very nice in drag. I shared a flat with him for two and a half years and I assure you that Priscilla was the first time I had ever seen Terry in drag. In case there's any rumours get around! From here.

[ 26-02-2002: Message edited by: The Return Of Rothkoid ]

09:41 / 26.02.02

RoR, the chap you mention in the commentary is Lem Dobbs, the screenwriter. And yes, that is very worth listening to. Love the fact that it's edited in a way that mirrors the film. Love also that it reveals a lot of the writer/director bickering re: what is written, what ends up on screen and who gets criticised for it. Dobbs complains: "Critics said the picture was underwritten, but it was all in the script, you just didn't put it in the picture. <Soderbergh shrugs>"
(that's paraphrased)

Having never been exposed to real rhyming slang, the accent, while admittedly a bit mincey, didn't bother me. But that's ignorance for you. That also means that I still get to enjoy the scene with the DEA guy.