THE CARER
UK, 2016, 89 minutes, Colour.
Brian Cox, Anna Chancellor, Emilia Fox, Coco Konig, Karl Johnson, Roger Moore.
Directed by Janos Edelenyi.
There have been a number of British films in recent years about the elderly and care for the elderly including the Exotic Best Marigold Hotel films, Quartet… It is a moot point whether they entertain the elderly themselves or are designed for those who are about to be elderly and for their potential carers.
Whatever the answer to that question, this film is well worth seeing for the performance of Brian Cox, a prolific Scottish actor whom many will recognise but, perhaps, not be able to name. He has appeared in many British films as well as American films. Here he is Sir Michael Gifford, an actor in his 70s with incipient Parkinson’s. He is a curmudgeon of a man, entirely used to getting his own way, pretty coarse-mouthed although he does redeem himself frequently with wonderful renditions of Shakespeare. He is not in the John Gielgud vein but rather could have taken on the role of Sir in a version of The Dresser, based on Sir Donald Wolfit.
Sir Michael lives in a stately mansion on a country estate but his daughter (Emilia Fox), stubborn like him, is wondering whether he should go to a retirement home or should have his personal carer, despite his proneness to fire potential carers at very short notice.
Enter Dorottya, a young Hungarian woman living in England, going to auditions so that she can enter drama school. in the meantime, she is working at a home for the elderly and responds to the call to be interviewed as Sir Michael’s carer. We know that she is going to succeed but the question is how will you deal with the crusty old man.
Dorottya has a charm but she is also fairly straightforward and deals with Sir Michael accordingly, something that appeals to him and he is also charmed by her. Actually, they form quite a pair as she entertains him, argues the toss, enjoying their reflections on the Shakespeare soliloquy, To Be or not To Be and how it was rendered by Jack Benny in the 1942 film and Mel Brooks’ remake. She takes him out to local pub and he begins to enjoy himself.
The big question is will he be able to go to an awards ceremony, his 23rd, but, as he emphasises, his last. He wants to go on his own and not be wearing any nappies for incontinence. His daughter and the doctor are dead against is going. Guess what!
Also in the picture are Millie (Anna Chancellor) his housekeeper who is absolutely devoted to him, protective of him, and Karl Johnson is Joseph, his assistant 40 years and now his chauffeur.
Brian Cox commands every scene is he is in, physically, vocally, emotionally – and his going to his award ceremony and the bravura of his final speech, very serious, a number of jokes, makes quite an epitaph for a British thespian.
1. The title, a theme of old age, infirmity, the role of carers, expectations?
2. The British film, characters, culture and style? The British theatre, cinema and television?
3. The director, the many Hungarian references during the film? Dorottya from Budapest?
4. The theme of ageing, people in institutions, in people’s homes, the glimpses – especially when Sir Michael did the recital for the residents? Personal ageing, the need for a carer, the role of support, cleaning and bathing? The carer and company, psychological, emotional? Issues of judgement and decision-making?
5. The introduction Dorottya, with the superintendent at the home, Sophie and her manner, the interview, hiring her? The role of the doctor and his advice? Meeting Joseph, driving
her, the stories of 40 years, a perspective on Sir Michael? Millie, a devoted nurse, housekeeper? The decision to give Dorottya a tryout?
6. Sue Michael, the performance by Brian Cox, his screen presence, a curmudgeon, coarse-mouthed, Shakespeare passages and utterances? The perspective on his career, his watching clips? His having Parkinson’s, the effect on him physically, wanting independence, his being dependent, the issue of nappies, incontinence? Joseph with him for 40 years, his appreciation? Millie and her love for him? The difficulty of finding carers, his firing them? A man of bluster, playing to the audience – but with some depths?
7. Dorottya arriving, Sir Michael falling in the rose bushes, her hauling him out? Her care, being hired, cleaning and his incontinence, with him, his attraction to her, age, company? Her answering him back? The details of her work? The quotations? The amusement about Jack Benny and To Be or Not To Be, the Mel Brooks reference? The speech? The growing affection, Millie and the touch of envy, Dorottya and Millie talking? Joseph and his memories?
8. Dorottya going to the audition, her accent, improvising, strong and ironic improvisation, the barbs? The phone call, her acceptance? Sir Michael and his connection?
9. Taking Michael out, talking, going to the pub, the pub owner, the drink, no smoking, outside, the return, his fall, laughing?
10. Millie, a character, Michael’s comments, about her figure, love and devotion?
11. Sophie, the doctor, firing Dorottya? Not wanting Michael to go to the award? Dorottya’s response, leaving the money, driven away?
12. Michael, the confrontation with his daughter, the declamation of the speech from King Lear, denouncing his daughter, the collapse, in hospital, the treatment?
13. Dorottya, upset that there was no reply, going to the hospital? The issue of the award, the opinions about him going or not, his not wanting to wear protection for incontinence, his final performance?
14. Sophie, on stage, the recipient? The announcement of the fund? The clip from Sir Roger Moore? Michael going out, dropping his script on purpose, his speech, the serious themes, the comic touches, To Be – Dorottya prompting?
15. Sir Michael walking onto the stage, his carrying off the ceremony, his speech, a life achievement?
