Early in The Party,
one of its erudite characters mentions postmodernism, and this is a film taking
place within giant quotation marks. Even Sally Potter’s shooting in stylish
black and white might be seen as a retro realism achieved in too conscious a
way. The satire is reflexive, for example Jinny, a lesbian pregnant with
triplets, is dressed in dungarees, satirising both lazy tropes and the film’s
willingness to include them.
Parties as settings inevitably lead to an emphasis on
characters and relationships. This one is being hosted by Janet, as a
celebration for her recent appointment to the shadow cabinet (which is
obviously Labour, though that is not explicitly stated). Those invited are her
friends and their partners. Most of this group know each other, some, secretly,
too well; their tangled relationships bring a succession of surprises, and the
best one is at the end (no spoiler for that). The characters belong to a milieu
of politics and academia, with the exceptions being Gottfried, a wacky and
annoying life coach, and Tom, described by Janet’s husband Bill, a professor of
Roman history, as a “wanker banker”. Tom
comes to the party with a hidden gun and the intention of murdering Bill. He
has discovered, through texts and emails, that Bill is having an affair with
his wife (absent but expected to arrive late). Consequently, Tom is in a
nervous state, and while the suppressed resentments of other characters erupt
verbally, his tensions break out more physically and this makes for a few
moments of farce, preventing the film from being too one paced.
It is essentially an impressive ensemble performance, nevertheless,
the party is taking place at the house of Janet (Kristin Scott Thomas) and Bill
(Timothy Spall) and this gives them more weight. Spall is someone who can act
slowly, which is just right for the lugubrious and drunk Bill, who uses the
party to reveal he is terminally ill. Janet, herself having an affair, reacts
hypocritically and violently when Bill admits to one of his own. Before this, Scott
Thomas presents in a subtle way Janet’s sympathy and love when Bill announces
his illness. With other characters there are also hints of more genuine people
beneath their coldly constructed personae.
The influence of Pinter is strong: the lies and betrayals
within personal relationships offset against support by those same characters
for high standards of ethical behaviour. Potter’s target is not so much a
liberal elite as those who are smug, humourless and take themselves far too
seriously. Her comedy about them is intelligent, elegant and a delight.
About the
reviewer
Robert Richardson is a visual artist and writer. His work is included in Artists’ Postcards: A Compendium (edited by Jeremy Cooper, published by Reaktion Books, London). In 2014, his solo exhibition TextSpaces was exhibited at Eugen Gomringer’s Kunsthaus Rehau in Germany. One of his designs will be included in a book about Leeds Postcards, to be published in 2018 by Four Corners Books. He is a member of the Biennale Austria association of contemporary artists.
Robert Richardson is a visual artist and writer. His work is included in Artists’ Postcards: A Compendium (edited by Jeremy Cooper, published by Reaktion Books, London). In 2014, his solo exhibition TextSpaces was exhibited at Eugen Gomringer’s Kunsthaus Rehau in Germany. One of his designs will be included in a book about Leeds Postcards, to be published in 2018 by Four Corners Books. He is a member of the Biennale Austria association of contemporary artists.
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