The Sense of an Ending

First Hit:  Somewhat slow, subtle, and insightful film about someone coming to grips with things as they are and not what he thought they were.

I didn’t mind that this British film plodded along because its plodding was even and unfolded the character and the past of Tony Webster (Jim Broadbent) in a thoughtful and realistic way.

Tony is a quiet grumpy (“curmudgeon” according to his daughter) retired old man. His best friend is his divorced wife Margaret (Harriet Walter). He’s a retired professor, but owns and works at a very small antique camera business. He receives a registered letter one day that tells him that his first college girlfriend Veronica’s (Freya Mavor as young Veronica and Charlotte Rampling as the older Veronica) mother, Sarah (Emily Mortimer), left him a diary by his old college friend Adrian Finn (Joe Alwyn).

Curious, he goes to the solicitor’s (lawyer) office to collect the diary, however he’s told that Veronica still has it and isn’t giving it up to Tony. This prompts him to discuss his university story to his former wife, who sees through the surface representation and tells him, come back and tell me the real and in-depth story.

The film is about this slow unfolding of his reconciliation of his actions as a student. To assist the story, his daughter Susie (Michelle Dockery) is pregnant and having a baby, which is used to enhance Tony’s inability to connect at an emotional empathetic level to the possibilities of what happened a long time ago.

To tell the story the film goes back and forth in time often to explore his relationship with Veronica, her mom, Adrian, and his other close friends. It takes a bit of getting use to because the segues between the two time periods are not always matched.

Broadbent was perfect for this role. He’s got the look and the acting ability to make me believe he was learning about his whole life through the story of the film. Being an occasional curmudgeon myself, I got why he asked the questions he did and the way he isolated himself. Walter was wonderful as his understanding and caring ex-wife. Mavor was interesting as young Veronica but it was Rampling as the older Veronica who really put the right flavor on his growing up, so-of-speak. Mortimer was really strong in her brief but impactful role. Alwyn was OK as Tony’s friend. Dockery was wonderful as Tony’s daughter. I liked their interaction and was touched by his being with her during the birth of her baby. Nick Payne did a wonderful job of creating a script that unfolded slowly. Ritesh Batra did a good job of letting the dialog unfold the scenes.

Overall:  This was enjoyable to me, but I can see why it may not be enjoyable to others.

The Lunchbox

First Hit:  A truly touching romantic film where the written word is the agent for change.

A lonely Mumbai wife tries to lure her husband into a more intimate and caring relationship by making him fantastic lunches which are picked up at her home and delivered to him by the infamous dabbawala which never makes mistakes.

However, Ila’s (Nimrat Kaur) lunches are being delivered to Saajan Fernandes (Irrfan Khan) an aging accounts clerk in a large Mumbai government agency. His wife is gone, he’s alone and he’s about to retire. Ila figures out that her lunches are not being received by her husband and ends up writing a note and putting it in the dabba (the container for the food).

Saajan gets the notes and responds harshly in the second note by saying “too much salt”. Ila begins to create more exotic lunches with the help of her “Auntie”. The note writing becomes more involved with them both sharing more of whom they are with the other.

Through this extended exchange, Ila becomes stronger by making a decision she needs to leave her husband who is having an affair. And Saajan becomes softer and less jaded to life by befriending Shaikh (Nawazuddin Siddiqui) a younger, happy, and annoying man who is charged with taking over the retiring Saajan. This film evolves the characters in a very subtle way and the hook is that you root for everyone while not making this story over melancholy or artificially sweetened.

Kaur is divine. Her stoic look interspersed with her sweet beauty is perfect of the newer Indian woman who is willing to stretch her wings. Khan is sublime as the aging lonely repressed man at the twilight of his working career. As he slowly unfolds his own softness the audience is drawn into this complex person. Siddiqui is perfect as the happy enterprising man selected to take Saajan’s place at work. His annoying enthusiasm is a perfect foil to Saajan’s deeper brooding presence. Ritesh Batra wrote and directed this exquisite film. He accurately captures India, their transportation system(s), and the feel and the culture of a major Indian city. The story is subtle, yet wonderfully obvious and universal.

Overall:  I truly loved and enjoyed this film.