Redundant and unnecessary.

Good story, Not enough for a whole film

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Exactly the movie you think it is, but not the movie you want it to be.

Some actors prove us that they can act. Some actors make us know that they can act. But The Late/Great Peter O'Toole shows us how its really done in 'Venus'. The Honorary Oscar-Winner & 8-Time Oscar-Nominee, O'Toole is an acting masterclass in 'Venus', a wonderful film that proudly rests of his shoulders to do it all. Its a performance that didn't Win the Oscar for Best Actor, and believe me, that's surprising in so many ways.'Venus' Synopsis: Life for a pair of veteran actors gets turned upside down after they meet a brash teenager. 'Venus' could've easily passed as a creepy story of an old-man eyeing a brash teenager. BUT, its actually a mature & affecting film about desires & companionship. Sure, O'Toole's Maurice is an old man & the girl Jessie, played Jodie Whittaker, is decades younger than him. And yet they develop a bond, that is a testament of human desires. 'Venus' doesn't make Maurice look like a dirty old man who'd you call a monster just because he still feels attracted to a much younger women, nor does it make Jessie look like a pervert, who invests most of her time with an older man, with quiet sensuality. This is a story of people forming a bond & how the desires live on, even after you're termed 'old' or 'too young'. And 'Venus' portrays it with class & genuine feeling. This isn't a cheap film, but in fact, a human film about human emotions.Hanif Kureishi's Screenplay is affecting & exceedingly funny at times. The Writing has depth, from start to end. Roger Michell's Direction is excellent. He's handled this complex story, with pure brilliance. Cinematography is perfect. Editing is nicely done. Art & Costume Design add hugely to the narrative.And at the center of 'Venus' is The MIGHTY Peter O'Toole. Watching The Thespian here is a pleasure beyond words. O'Toole delivers a masterpiece of a performance, that ranks amongst the finest I've ever seen. Its a portrayal driven in subtlety & is anchored by heart. O 'Toole makes his character look human, rather than monstrous & that's the genius of his superior portrayal. From start to finish, O'Toole puts up an acting masterclass.And lending O'Toole superb support are Jodie Whittaker, Leslie Phillips, Vanessa Redgrave & The Late/Great Richard Griffiths. On the whole, 'Venus' reminds us the Giant that Peter O'Toole was. Watch it & be rewarded.

Cinema has had a number of stains and gems regarding the taboo of old-meets-young in sexual relationships. Unfortunately, Peter O'Toole's quirkily misplaced majestic performance seems to have been wasted on this skid mark, devoid of any genuine justification for the risqué exploits of a perverted old man desperate to swap fluids with his twenty-year-old crush. Now, this following romance movie attribute is accepted, and expected: when boy meets girl, there is initial disdain from at least one party, resulting in a rough start to the inevitable love story, reinforcing the old convention, "The more they hate each other, the more likely they'll fall in love by the end of the movie." Here you'll find the most unbelievable and ridiculous presentation of this story element that reinforces nothing of value.Famed dramatic actor Maurice Russell, in the twilight of his seventies, meets his friend's grandniece and new nurse, Jessie. He is immediately smitten by her, and just as soon brings out the alcohol in hopes she will submit. The rest of the film is plagued with sequences of lowbrow ribaldry, with some occasional heartfelt moments on the side that are overpowered by the former, if only just.After several borderline hilarious establishing scenes showing old British men with filthy mouths exchanging medications like junkies and discussing obituaries as if in a Monty Python sketch, the film takes a turn for the painfully awkward.With Venus, this awkwardness simply does not stop. Maurice charms Jessie with the gentlemanly charisma only O'Toole can convey; Jessie is treated like a princess; the princess is then groped; she retreats, tells Maurice she never wants to see him again, and he rustles out the ideal gravelling laugh of an old pervert. Repeat. Again. And again, only more rude.The intermittent scenes of Maurice with his friends, visits with his estranged old flame, and solitary moments with his thoughts seem to have heart, but we don't feel the beat. Stanley Kubrick handled this taboo sub-genre perfectly with Lolita, not exploiting a single element, and capturing our sympathy for an older man who discovers his lust and love may be confused. Venus takes the opposite route, exploiting the taboo to the point where Jessie is a character we love to hate, and Maurice turns out to be nothing more than a shameless, horny old man.All things considered, there are only two things that nearly saved it for me. One is, of course, Peter O'Toole's performance, which beautifies his character with a surprising occasional elegance. The other is an important plot element that sadly confuses the film: Maurice, after prostate surgery, is impotent. Does this mean that his licentious erotic tendencies are the result of true love? Probably not. This was, perhaps, a simple plot device inserted only for the purpose of gaining understanding for his character, and some consideration that he is more that just a horny geezer.There are many who hail this film as a near-perfect romantic comedy, as touching as it is funny, etc. This pablum is unjustified because any substance or underlying meaning to this "love story" can only be described as ludicrous. How could it not? This certainty speaks for itself, namely when Jessie touches herself and allows Maurice to smell her fluids, yet tries to slap him when he tries to lick her fingers. I am not making this up. If this does not disturb or confuse you, by all means, enjoy the movie.I hate to describe a Peter O'Toole film as trash, but I have to say Venus is a horribly miscalculated and vain excuse for a seldom-attempted type of love story. As I anticipated, it is worthy of a single viewing only for him, proving that he is among the greatest actors of his generation, and the last hope for modern theatres to be graced with silver screens once again. That being said, I just wish this film hadn't been given the same inventive value of a watered-down dime novel dragged through a muddy gutter. Putting it delicately.

Carrying the torch for Britain's great heritage of kitchen-sink dramas, we have 'Venus'.Peter O'Toole demonstrates a calibre of acting that few modern players could scarcely emulate, and at an age when most would struggle to remember their own names, let alone their lines. He plays to type; an ageing Thespian growing old in grace, and with humane and vulnerable decency. Somehow, (I missed the very beginning) he falls-in with a delinquent young woman who proceeds to take advantage of the conflict between his declining abilities and his still-unquenched desire. There's something not quite well with her too. And in time, we learn that she herself has been the subject of earlier abuse and loss, and in convoluted pathology is revenging herself upon his vulnerable condition. He is the first person over whom she has had power. And, having been abused, turns abuser.Some of the scenes of private intercourse between they two are both tragic and offensive, yet at the same time starkly real. They are so well presented as to make viewers uncomfortable, like unwilling voyeurs, compelled to observe moments of disagreeable intimacy with which we can easily identify but would sooner not see for that very reason.   This is very much a voice for old age, and - heaven knows - in Britain today age needs loud voices. The elderly die for want of common necessaries in the 3rd millennium almost as quietly and cruelly as they did in the 19th century. They're scorned, maltreated and neglected in ways that disgrace any first-world country. Contempt could not be more manifest than by reference to our doomed hero as a 'dirty old man', for possessing no more than the timeless instincts of younger men. As if, in age, that were somehow a sin. At what year does sex become dirty? In a world were relationships may cross race, religion, and even gender orientation, (discrimination against all of which have been outlawed); a relationship that crosses generations still excites hostile reproof. And never moreso than since the post 60's adoption of 'youth' culture. The young woman in this movie is above the age of majority. She is perfectly capable of making her own informed decision. What then; is an old white man an inferior or immoral choice compared to a young black one? If both adults give informed consent, what business is it of anyone else? Happily, age-discrimination is being outlawed in this country, but it will be a long march to remedy our culture of petty resentment. If older people had the same legal protection as homosexuals (and why not, they being more vulnerable?) then that would be a step in the right direction, and senior citizens might at last come in from the cold.Everyone should watch this movie, and think about growing old. Because, if they live long enough; everybody does. And its no sin; it's no disgrace. The covenant of youth is not betrayed.

I had heard of this film mainly from two things, the lead actor being nominated an Oscar, and it being made by FilmFour, it turned out to be quite a satisfying film, from director Roger Michell (Notting Hill, The Mother). Basically Maurice Russell (Oscar, BAFTA and Golden Globe nominated Peter O'Toole) and his friend Ian (BAFTA nominated Leslie Phillips, known for his catchphrase "Ding Dong") are two successful but ageing actors, and the best part they could get nowadays is a corpse or some arty-farty costume drama. Ian, fearful of death being around the corner, agrees to let his niece's daughter, Jessie (Jodie Whittaker) move into their flat to look after him, but it turns out Ian, a hard-drinking, rude, and dismissive twerp, can't stand 20-something Jessie. Maurice however is liking Jessie's company very much, he in fact sort of guides her with his kindness, although it is obvious that he likes Jessie - 50 years younger than him - much more than just a friend, which explains why he calls her 'Venus'. When Maurice dies in the end, with Jessie of course, she finds the courage to face her fears, and after refusing before, agrees to go nude to be painted, just like Venus. Also starring Harry Potter's Richard Griffiths as Donald, Vanessa Redgrave as Valerie, Philip Fox as Doctor, Cathryn Bradshaw as Jillian and Bronson Webb as Jessie's boyfriend. O'Toole lost the Oscar to deserved winner Forest Whitaker for The Last King of Scotland, but you can still see this is a very creditable performance, with an also endearing performance from Phillips, and featuring music and songs from Corinne Bailey Rae, including "Like A Star" and "Put Your Records On", this is quite a watchable romantic comedy drama. Good!