BREATHE
★★★
OUT 26 DECEMBER / RATED M / 117 MINS
DIRECTOR Andy Serkis
CAST Andrew Garfield, Claire Foy, Hugh
Bonneville, Tom Hollander, Diana RiggINSPIRATIONAL REAL-LIFE tales about
overcoming adversity have, in recent years,
all been lumped together under the heading
‘Oscar bait’ — often unfairly. But Breathe,
while offering no great innovations in its
storytelling, is so sincere that it blasts away
such cynicism. This is the story of a couple
in love, whose mutual devotion just
happened to change the world, told with
affection and respect.
It’s Andy Serkis’ first film as director,
and though this was produced through his
Imaginarium, Serkis doesn’t lead with
technology and wisely tackles a subject
close to his heart (his sister has multiple
sclerosis) and handles it with delicacy.
The performances of Andrew Garfield
as Robin Cavendish and Claire Foy as his
extraordinarily determined wife Diana are
key. They start off as your typical late-
colonial golden couple, playing tennis with
the ambassador and his wife in Kenya. But
an apparent flu proves to be a severe bout
of polio, one that threatens Robin’s life and
leaves him almost entirely paralysed,
dependent on a respirator to breathe.
Robin is suicidal, but Diana refuses to
give up. When he begs to escape the
hospital, she takes on the authorities and
makes it happen. In return, Robin begins to
struggle back against both depression and
paralysis. Having been given only three
months to live, he thrives as he, his wife and
mechanically minded friend Teddy Hall
(Hugh Bonneville) contrive hodge-podge
solutions that enable him to sit up, move
around and even travel once again.
The film isessentially one great tragedy
followed by a series of small triumphs, as
Robin reclaims much of his lust for life and
inspires changes in the medical profession
around the world.
The Cavendishes’ English home
welcomes an ever-rotating crop of
guests — good people work almost literal
miracles here, and it always seems to
be summer. This sunny optimism keeps
this from being another misery fest and,
without underplaying the harsh reality
of Robin’s condition, reminds us that life
goes on, and love wins — a message,
though verging on saccharine, that’s
worth hearing.HOHVERDICTPaddington 2should be prescribed
as an antidote to anyone who finds the madness
of the modern world a bit wearing. It’s probably
possibleto not absolutely love it, but it’s hard
to see how.his entire furry being, or doing the laundry in
prison and turning everyone’s uniforms pink.
King’s visual comic timing is impeccable.
He never oversells. For example, he reveals the
film’s title with Paddington writing his name
on a misty window, then to better see through the
window, smudging away the mist, in the
approximate shape of a 2. That’s such a tiny,
fleeting moment, but it’s so clever. His film is full
of touches like that: tiny moments of comedy
brilliance or visual dazzle, brushed past without
fuss. Paddington 2doesn’t like to make a fuss.
Except when it comes to the bad guy.
Filling the villain shoes this time round
is Hugh Grant. And those shoes runneth over.
As Phoenix Buchanan, a past-his-prime actor,
now the face of “Harley’s gourmet doggy
din-dins”, he performs his heart, lungs and
every other internal organ out. Every second
is a joy. Buchanan’s scheme to steal Paddington’s
coveted book involves dressing up in a variety
of costumes — nun, armoured knight, vagrant
with the dodgiest cockney twang this side of
Dick Van Dyke — and Grant passionately
throws himself into the dressing-up box. His
directorial instruction seems to have been,
“Marvellous, darling, but camper.” So he goes
over the top and then enthusiastically comes
back round for another leap.
Paddington 2is every bit as enchanting
as the first, perhaps even more so, but it
feels arbitrary to pick a winner. The film is
a pure delight, as sweet and sharp as, well,
marmalade, really.OLLY RICHARDSClockwise from left:
“Anyone want
a chocolate
orange without
the chocolate?”;
Paddington’s friendly
neighbours pay
a visit; The cunning
Phoenix Buchanan
(Hugh Grant) in one of
his many disguises;
Paddington does his
best impression of
a window display.