Sunday, 28 April 2013

The Look Of Love (2013, Dir. Michael Winterbottom, UK/USA) (Cert: 18/TBC) ***


 

Starring: Steve Coogan, Imogen Poots, Tamsin Egerton

 

In 1958, Paul Raymond (Coogan) courted controversy and immense popularity from his revue bar in Soho with the attraction of young naked women. Starting from his fortune made through erotica, Raymond later branched into the property market and in 1992 was declared the richest man in the UK. However, the road there was beset by infidelity, drugs and heartbreak.

 

The Look Of Love may be one of the few times (if not the only time) where a biopic has been made by the same director and with the same star but playing a different subject. Having previously played Factory Records and Haҫienda club impresario Tony Wilson in Winterbottom’s 24 Hour Party People (2002), Steve Coogan returns as erotica magnate Paul Raymond in a film that is big on style and has the occasional dramatic flare to match but also the occasional lull. The film presents Paul Raymond’s story as the view that money doesn’t buy happiness. This is hardly an original sentiment in film and in fact one of the most famous films. Citizen Kane (1941) already delivered that message rather thoroughly (there has been speculation that Citizen Kane was about media tycoon William Randolph Hearst, but there’s never been any clear confirmation) and as a result the film falls down the usual rabbit holes, but there seems to be real promise in elements that are left out (the start of the Revue Bar is pretty much glossed over as is most of the elements of the controversy Raymond caused; both of which would be fascinating ideas) but in the film’s favour there are some strong performances from the leads (even if Coogan in Raymond’s more awkward moments stumbles a little too close to his comedy creation, Alan Partridge) and whilst the film has many a cameo to spot for anyone even vaguely familiar to modern British media (on a side note: in his very short appearance I’m convinced Matt Lucas should star in a film about drag/cult film icon, Divine) they aren’t extremely gratuitous. Like the material that Paul Raymond made his name with, this will satisfy and entertain many, but are easily forgotten.

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