Unlike some people I know (*cough*my brother-in-law*cough*) I am not really into seasonal themed movies such as Christmas ones.(Though I would have gone to see "Home for Purim" in a flash!). Specifically, I am not too fond of movies that make such a theme--again, like Christmas--the integral part of the movie, instead of just another circumstance adding to, but not completely defining, the movie's plot (or plots, as the case usually is with such movies). I'm also especially reluctant to watch such movies because inevitably there is the related thematic music, which somehow seems to be either added all slapdash and any which way, just because it can be, or is so overbearingly prominent, it makes me wonder if the writers and producers and director were trying to go for a CD rather than a movie.
There is one movie, though, that even surprised curmudgeonly old me. Sure, 'Love Actually' has its typical shares of feel good stories and predictable outcomes and prominent Christmas songs. It also has, however, some poignantly sad and real scenes, unexpected turn of events, and a wealth of well placed and well chosen musical interludes that have nothing to do with Christmas whatsoever. I kind of quietly adore this movie (with a movie like this, adore is the kind of verb you want to use), faults and all, and even though the shine has worn off, it's still a cute little bauble that I like to pick up and look at.
(By the way, not all the scenes I wanted to point out are easily available on Youtube, but I think I managed to the get bulk of the key ones. For the rest, you just need to see the movie yourself, right?)
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Right away, the opening credits do a nice job of letting you know that this may not be your typical Christmas beats the odds story. Bill Nighly (who is a brilliant, brilliant actor) sets the tone in his role as Billy Mack, the aged rocker gearing for a comeback with a cover of a schmaltzy song changed slightly to take advantage of the holiday season. I love that his story takes the expected inclusion of a holiday song in such a movie and completely turns the supposed upbeat reaction to it--and his battle to conquer failure as a result of it--on its head and mocks it loudly and unapologetically. His proclamation of love to his much surprised object of affection is one of my favorite love scenes in recent years.
Opening Credits of Love Actually/Christmas Is All Around - Bill Nighly (playing Billy Mack)
and for those curious as to how it turned out(NB: another video wher embedding was disabled a while after the original post):
Christmas Is All Around - Bill Nighly (playing Billy Mack)
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The movie doesn't waste much time breaking into its various plots of the different angles of love (this is not exactly a subtle movie), and jumps right in with the well known and often portrayed love triangle, kicking off not one but two subplots. One of those is set up beautifully with its own musical interpretation. (And almost makes up for Keira 'mouth-breather' Knightly being foisted on us as yet another highly desirable female character. Please.)
All You Need Is Love (cover) - Lynden David Hall with Various
The not so tidy tie-up of this particular triangle ends with the expected Christmas carol playing a quietly interesting pivotal role. (Also, Andrew Lincoln? Call me if you're still pining.)
Silent Night - Pre Teens
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Hugh Grant's role in the movie is quintessential Hugh Grant (is there any other?), although it is quite refreshing to see his bumbling actions in pursuit of love be directed at someone who is a bit more believable than, say, the utterly boring, utterly uncharismatic Andie McDowell or the frighteningly literal scene chomping (and yet, once again uncharismatic) Julia Roberts from his previous roles. The character of Natalie, although stereotypically 'sexy, saucy, cheeky monkey' is much more welcome (as is her non-anorexic frame), and even though the story has been done to death, down to the British male in power/girl from the lower class setup (from the beautifully executed Educating Rita to the typical Yank versus Limey King Ralph), it still has a refreshing air about it.
Which means, of course, that you get also Hugh Grant at his self deprecatingly congratulatory best, shaking his arse:
Jump - Pointer Sisters
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Laura Linney's story is also too familiar: the person who has to put on hold one kind of love in order to fulfill the demands of another kind. Unfortunately, I can't find the scenes where music features prominently for her character--and they do--so do check them out on your own, since it includes the haunting 'Songbird' by Christie McVie.
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The best scene in the entire movie where music is concerned is perhaps the most realistic of them all. The backstory is a familiar one: Emma Thompson's character, Karen, rightly suspects that, after several years of marriage and predictability in the relationship, her inherently kind but obtuse and middle-aged husband, Harry, is highly susceptible to the overt come-ons of his young and sexy secretary. In the same even tone that Karen talks about forgetting her true self, and things such as her love for Joni Mitchell's music, she reminds Harry not to forget that he is not infallible and to watch out for his worst enemy: his weakness of well meant intentions.
Karen's pathetically naive delight in finding a gold necklace in a square box, hidden away in Harry's pocket, after a joint Christmas shopping spree, makes this next scene even harder to anticipate. A well done to Alan Rickman (one of my long time crushes, by the way) who plays Harry to such perfection that it is almost hard to hate him. But the real kudos are all Emma Thompson's. That quiet, controlled crying is something that no guy will ever really understand, but will have, I guarantee you, pretty much every woman stopping to take a quick breath remembering the exacting way you tighten every muscle in your chest and inhale and exhale with firmly gripping executed control to stop the tears that you absolutely cannot afford to give in to, for fear of never stopping.
(Wait half a minute, the youtube cut starts with the amusing end of the shopping spree)
Both Sides Now - Joni Mitchell
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To end things on a bright note--after all, this is a Christmas movie in essence--you have the scene with the amazingly talented Olivia Olson, as Joanna, who plays the love of young Sam (played by the equally precocious Thomas Sangster). As an aside, the musical director of the movie had to slightly change the tone of Olivia's voice in the recording to make it sound younger, because she has such a richly mature voice.
All I Want For Christmas - Olivia Olson (as Joanna Anderson)
Finally, all's well that end's well- sort of. You can't do better than a Beach Boys' song to summarize the pleasures and pains of loves lost and found, now can you?
(The video is lagging quite a bit behind the audio, but you get the gist.)
(Huh, embedding was disabled overnight. Oh, well.)
God Only Knows - The Beach Boys
