GIDEON’S DAUGHTER

UK, 2006, 106 minutes, Colour.
Bill Nighy, Miranda Richardson, Emily Blunt, Robert Lindsay, Ronni Ancona, Tom Hardy, Tom Goodman- Hill, Joanna Page, David Westhead, Samantha Whittaker.
Directed by Stephen Poliakoff.

Gideon’s Daughter is one of a number of films and plays written and directed by Stephen Poliakoff. He has written quite a number of plays, some screenplays especially for the cinema screen but more for television. He directed a number of them including Close My Eyes and Century in the early 1990s as well as the miniseries The Lost Prince in 2003.

Bill Nighy gives an interesting performance as a celebrated PR expert. In one sense, he walks through the film almost as if sleepwalking. On the other hand, this indicates the crisis that he is going through. Miranda Richardson, who is able to immerse herself in a wide range of different roles, is a suburban mother whose son has been killed in a bike accident. Her estranged husband is consumed with grief and harasses politicians and council members, wanting demonstrations to vent his rage. He is played well by David Westhead.

Bill Nighy won a Gold Globe for his performance as did Emily Blunt for her role as the daughter. Emily Blunt made a big impression in My Summer of Love, appeared with Sam Neill and Susan Sarandon in Irreconcilable and made a worldwide impact in The Devil Wears Prada. Robert Lindsay appears as a novelist and comedienne Ronni Ancona appears as the PR man’s girlfriend.

The film opens in 1997, with the election of the Blair government. As the summer continues, the PR man goes through a crisis, by chance encounter when advising a politician he meets the bereaved father and mother, he is attracted towards the mother who lives out at Southall and works in a twenty-four-hour shop. They begin a relationship, she being able to listen to the PR man. In the meantime, his daughter is graduating from school and performs a song about Georges Simenon, his multi-relationships with women and his daughter’s suicide.

The film blends political comment about the Labour government – and the preparations for the building of the Millennium Dome as well as what was to be inside it. Along with that, there is the mid-life crisis. The film is well acted – and for those who like Poliakoff’s perspectives on people, politics and situations, it is quite impressive.

1.The work of Stephen Poliakoff? Interests, style? Britain, people, politics, society?

2.The blend of the serious and the satiric – the satiric on politicians, on public relations?

3.London as a character, seen in detail, the houses and streets, looking in the windows at night, Southall, the death of Diana, the grief, the plans for the dome?

4.The political context of 1997, the Labour victory, the exultation of the winners, Blair followers, the gala and the premiere, the rain and the stars, the publicity, the meal and the snobbery seating, Gideon and his talking to the guests, authority and status?

5.Sneath and his writing the story, his appearing in scenes with Gideon? Friends? His writing the novel, Becca’s arrival, dictating to her, in pyjamas, casual, the screenplay turning to Sneath at various times? The boy, his story, Sneath looking after him? The completion of the novel? Becca Sneath and the boy walking in the park?

6.The politics: the royal family, ministers, government, Tony Blair and Diana’s death, the consultations about the dome? The financial and media connections – and Gideon’s role in giving advice, especially for Badalamenti (and the echoes of Silvio Berlusconi)?

7.Gideon in himself, Bill Nighy’s award-winning performance, age, experience, expertise, reputation? His seeming to walk through the film – an introvert? The gala, the actress approaching him – and his later advice, not listening to her? His capacity for listening and talking – and for opting out? Friendship with Sneath? His relationship with Natasha, Barbara’s arrival, Andrew keeping him in order?

8.Andrew, young, pushy, with the minister, with Badalamenti, the information about the dome, the phone calls and supervising the timetable? The glimpse of the other staff, the meetings?

9.Bill and his attack on Dent, his son’s death, the bicycle path, the obstruction, the trees? No response from Dent, from the council? Gideon arranging the demonstration, his speaking, pulling the hair of the woman and making her run, the videotape? Bill and his meeting Gideon with the flowers at Diana’s death? His taking the flowers, his putting them at the site of his son’s death, his achieving the change in the bicycle path? The individuals and change? Stella, her observing, her accepting the lift from Gideon, being estranged from Bill, the different ways in which they handled their grief? Stella giving Gideon the camera for his daughter’s performance?

10.The importance of the song, Gideon taping it, watching it over and over, its meaning – Simenon, his relationships, his daughter’s suicide? Natasha saying it was only a song?

11.Natasha, at the socials, at home, her not being comfortable in the events? At school, the performance, the song, going to South America? The decision, the timeline, the deadline, her reasons for going? University, not contacting her father, at the stand-up comic show, her response to him? The reconciliation?

12.The flashback, Gideon’s wife and her illness, the estrangement, his infidelity, the strange man coming and sitting with the family, his going to the phone, staying the half hour, his wife’s death, Natasha’s look?

13.Gideon and Stella, returning the camera, at the shop, eating together, her taking him to the restaurant, the later gala? At home with her, the stars, her capacity for listening, the relationship, advice, Stella meeting Natasha? Gideon late for the important meeting?

14.Badalamenti, the tycoon, leaving the room, his interpreting Gideon’s lateness and seeming indifference favourably?

15.The dome, the plans, Gideon talking off the top of his head?

16.The gala at the restaurant, the media, the celebrities – and not necessarily knowing why they were there?

17.Gideon going to Edinburgh, the talk about murders of young women, his going to the stand-up comedian, the comedian responding to him, his standing on the steps, going on stage, Natasha following him?

18.The future for all the characters – and a perception on English life at the end of the 20th century?



GIDEON’S DAUGHTER

UK, 2005, 105 minutes, Colour.
Bill Nighy, Miranda Richardson, Emily Blunt, Robert Lindsay, Ronni Ancona, Tom Hardy, Samantha Whitaker.
Directed by Stephen Poliakoff.

Stephen Poliakoff has written a number of political plays and screenplays, offering a critical look at British society, a sardonic comment on its values. This is the case here, a screenplay about Britain at the time of the handover of Hong Kong, the death of Princess Diana. It is also the time of Tony Blair’s victory and becoming the Labour Prime Minister.

Bill Nighy, as always, gives an interesting performance, this time of an agent, with a poor background, educated practically by his taxi-driver father, becoming an agent for music groups, enjoying something of the high life, gaining a reputation, and then being consulted as an expert entrepreneur by government agencies, especially to celebrate the millennium. But, by now, having reached the top, he is dissatisfied with his life. His main assistant is played, in an early role, by Tom Hardy, who is something you are Gideon was like when he was younger.

And Emily Blunt, again in an early role, plays the agent’s disaffected daughter, in contact with him, but wanting to break free, wanting to travel. She performs a song at her college, critical of parents, with reference to Simenon, the celebrated writer, and his many affairs.

The film is framed by a focus on a writer, played by Robert Lindsay, who also enters into the action of the film. Another significant character is played by Miranda Richardson, a mother whose young boy was killed on his first bike riding expedition, his father and mother grieving, separating, involved in campaigns to change legislation.

The film is interesting in its delineation of characters and their interactions, but, especially for England-watches, the opportunity to reflect on what England was like at the end of the 1990s and on the verge of the millennium.

1. The picture of British society, the 1990s, the death of Diana, the return of the Labour government, preparations for the millennium?

2. Stephen Poliakoff, his career, writing, plays and films, his perspectives on Britain?

3. The strength of the cast?

4. London, the city, suburbs, Southall, Edinburgh and the city? The musical score?

5. The title, the focus on Gideon, Bill Nighy and his screen presence? Nathalie, Emily Blunt at the beginning of her career?

6. The framework, Sneath and his waking up, Becca arriving, in his pyjamas, telling the story, dictating it? His tone? His being in the story, friend of Gideon, at the socials, the arrival of his child, the bond with his child, walking in the park with his son and Becca?

7. Gideon and his life, his memories, working for the comics and being on the bus, PR, ordinary, his childhood, the flashbacks to his father and his driving the car, the politicians and important people, Gideon watching the golf, the party? His growing up with knowledge, skills, forming his company, estrangement from his wife, her dying of cancer, his being on the phone, Nathalie and her resentment, not forgiving him? The oddity of the stranger who came into the ward and was present at the death, offering condolences?

8. His success, in society, Andrew as his hard-working assistant, the parliamentarians, the preparation for the millennium, drawing on his expertise for staging events? The death of Diana, the flowers and the influence of his stagings? The millennium, his clients? His decisions, becoming bored, absent from meetings, going to see Stella, getting her to make the phone call that he could leave? The encounter with Stella and her husband, the parliamentarian and the demonstration, the video camera, going to Nathalie’s performance, the school, the story of Simenon and his affairs, the songs, Sneath and his comments about Simenon? Video, at the party, not wanting to stay, not listening to the woman asking for his advice for her career? Her entry to the party, the rain, wanting the publicity? Going to see Stella, returning the video, at the pharmacy, the snack, the guinea pig? His avoiding meetings? His relationship with Andrew, relying on Andrew? Stella taking him to listen to the choir, hurrying out, going to the house, the sexual encounter, the bond with Stella? Taking her to meet Nathalie? The Italian, being late for the conference, the Italian and his response about not listening, wanting Gideon to do his work? The discussions with Andrew about leaving or staying, Andrew’s challenge and wanting to stay?

9. Edinburgh, the murders, Nathalie and her plans to go to Colombia, examination results, her father not wanting her to go, her decision, staying, going to Edinburgh, Gideon’s fear that she had been murdered? His going to the comedy club, her presence, his going on stage, in a kind of trance, collapsing, her embarrassment? Going to hospital, Stella caring for him, the reconciliation with Nathalie?

10. Nathalie and her life, devotion to her mother, alienation from her father, his absences? At school, singing the song, the reasons for that choice, telling Gideon that it was only a song? The travel plans, staying?

11. Stella and her husband, the boy on his bike, her regrets about not going with him for his first ride, the pathos of his death? The demonstration, the challenge to the parliamentarian, the husband on the bike, the collapse? Dragging the woman along the ground? Stella and her talking to Gideon, his giving her a lift, giving him the video, his decision to return it? Going to the Indian restaurant and the enjoyable meal, the discussions, her being upset, his staying with her, the sexual relationship? Her good advice? The final social at the Indian restaurant?

12. Her husband, his anger, the demonstration? Angry, the confrontations? Taking Diana’s flowers, meeting Gideon, at the final party, more peaceful the parliamentarian? With Stella?

13. The parliamentarian, the plans, the millennium, the celebration?

14. Andrew, as a character, young, his ambitions, his work for Gideon, arrangements, the meetings, puzzles about Gideon’s absence, Gideon challenging him about staying, his reply that he would stay to challenge a man like Gideon?

15. The Italians, their plans, Andrew and the negotiations, the head, late for the meeting, discussions with Gideon, wanting to hire him?

16. The Indian restaurant, the party, the range of guests, summarising his life?

17. Sneath, his comments about Gideon, seen Gideon, Stella and Nathalie walking along the street, vanishing? Sneath and his glimpse of Nathalie? Gideon and Stella and their absence, happy, being free?

18. Poliakoff’s perspectives on Britain, the 1990s, the wealthy, the powerful, the ordinary?