"All or nothing" is one of the most emotionally conflicting yet ultimately rewarding film I have ever seen.
Veiled by its effectively subversive humour, this "difficult" film challenged the audiences to confront boundless human pain head-on (which may explain the need for some comedy to "soften the blow", I think). But if one rises to its enormous challenge, this film will deliver a catharsis not matched since the wildly swirling epic, "Magnolia".
Many have commented on the quizzical reaction most everyone got from this obviously depressing film; very willing laughter. Outwardly, we can't help but laugh at its weirdly rhythmic/comedic presentation of depression (in all its different shades and facets). Some dramatic set pieces even seemed intentionally tweaked to make us laugh. Perhaps, Leigh trusted, or was willfully testing, the limits of a cinematic paradox; that the audience may laugh at a film's characters throughout a movie, but given half a chance, they may too have just as much capacity to cry with them. What can I say? In the assured hands of a master story teller like Leigh, this calculated gamble paid off big time.
I was a devastated, liquified mess after being confronted by the exponentially overwhelming sadness and piercing emotional truths this film dished out. The hurt and despair the film's ordinary people bore, could just as easily be transplanted onto anyone who had parents or children, siblings or relations, friends or loved ones. In other words, its incendiary resonance / relevance was heart-poundingly honest and universal, whatever our social/ class divide.
And frankly, to say the last third of this film packed a wallop will be like a monumental understatement. By then, I was already bleeding inside out. I was an emotional car wreck. For before I realised I was hooked by its imperceptible sea of sorrow, it was too late. I was already marooning in the deep end, struggling to stay afloat. Put simply, I was mercilessly pounded into submission by the sheer human pain with which each and every character in this film endured/ concealed.
And guess what, I was still miraculously laughing throughout this ordeal? Either I am a masochist, or this film do indeed possesses the uncanny gift to force us into "keeping up appearances", no matter how bad it all seems....
(Spoilers ahead)
In fact, the final breakdown and confrontation between two key characters in the film was the most heart breaking moment I ever had witnessed in all the films I've seen. This whole film seemed logically set-up/ built-up to usher us all into this crescendo-like breaking point. Hence, imagine my immensely grateful relief when the film so mercifully, ended on a positive note of catharsis.
(End of spoilers)
IMHO, "All or nothing" may have been a top notch ensemble drama, I felt it would not have reached its full dramatic heights without the Best Male performance of 2002, that of Timothy Spall's (Or at least he'd have my vote anyway).
Spall's sad puppy face incited the most laughter. His well-timed reaction shots to the situation around him were often pricelessly funny (either as a disillusioned loser London cabby or a disheartened loser father/ husband at home etc). But it was also his emotive face and his fearless performance in this thankless role that sealed the audiences' full sympathies with his character, and by extension, our wild abandoning regard for this stirring dramedy.
In closing, I can safely say now that "All or nothing" can proudly stand alongside a film like "The Insider" (Another one of my all time favourite films). For it too possesses that rare quality of a 'slow burner'. This film's strong legs meant I won't tire of it. I will only grow to love it more, with each ensuing revisit.
So folks, if my above slobbering words are to be believed, you have been informed. Go hunt for this highly recommended title now, and be richly rewarded.
Veiled by its effectively subversive humour, this "difficult" film challenged the audiences to confront boundless human pain head-on (which may explain the need for some comedy to "soften the blow", I think). But if one rises to its enormous challenge, this film will deliver a catharsis not matched since the wildly swirling epic, "Magnolia".
Many have commented on the quizzical reaction most everyone got from this obviously depressing film; very willing laughter. Outwardly, we can't help but laugh at its weirdly rhythmic/comedic presentation of depression (in all its different shades and facets). Some dramatic set pieces even seemed intentionally tweaked to make us laugh. Perhaps, Leigh trusted, or was willfully testing, the limits of a cinematic paradox; that the audience may laugh at a film's characters throughout a movie, but given half a chance, they may too have just as much capacity to cry with them. What can I say? In the assured hands of a master story teller like Leigh, this calculated gamble paid off big time.
I was a devastated, liquified mess after being confronted by the exponentially overwhelming sadness and piercing emotional truths this film dished out. The hurt and despair the film's ordinary people bore, could just as easily be transplanted onto anyone who had parents or children, siblings or relations, friends or loved ones. In other words, its incendiary resonance / relevance was heart-poundingly honest and universal, whatever our social/ class divide.
And frankly, to say the last third of this film packed a wallop will be like a monumental understatement. By then, I was already bleeding inside out. I was an emotional car wreck. For before I realised I was hooked by its imperceptible sea of sorrow, it was too late. I was already marooning in the deep end, struggling to stay afloat. Put simply, I was mercilessly pounded into submission by the sheer human pain with which each and every character in this film endured/ concealed.
And guess what, I was still miraculously laughing throughout this ordeal? Either I am a masochist, or this film do indeed possesses the uncanny gift to force us into "keeping up appearances", no matter how bad it all seems....
(Spoilers ahead)
In fact, the final breakdown and confrontation between two key characters in the film was the most heart breaking moment I ever had witnessed in all the films I've seen. This whole film seemed logically set-up/ built-up to usher us all into this crescendo-like breaking point. Hence, imagine my immensely grateful relief when the film so mercifully, ended on a positive note of catharsis.
(End of spoilers)
IMHO, "All or nothing" may have been a top notch ensemble drama, I felt it would not have reached its full dramatic heights without the Best Male performance of 2002, that of Timothy Spall's (Or at least he'd have my vote anyway).
Spall's sad puppy face incited the most laughter. His well-timed reaction shots to the situation around him were often pricelessly funny (either as a disillusioned loser London cabby or a disheartened loser father/ husband at home etc). But it was also his emotive face and his fearless performance in this thankless role that sealed the audiences' full sympathies with his character, and by extension, our wild abandoning regard for this stirring dramedy.
In closing, I can safely say now that "All or nothing" can proudly stand alongside a film like "The Insider" (Another one of my all time favourite films). For it too possesses that rare quality of a 'slow burner'. This film's strong legs meant I won't tire of it. I will only grow to love it more, with each ensuing revisit.
So folks, if my above slobbering words are to be believed, you have been informed. Go hunt for this highly recommended title now, and be richly rewarded.