Purely Joyful Movie!

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

.Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

David Yates' UK television film The Girl in the Café shows what is capable of being made across the Atlantic for the small screen. Whereas in America we get movie of the weeks and after school special morality tales, the British prove that TV should not be looked upon as inferior to the silver screen. Kudos to HBO for seeing the quality put into this tale and releasing it on its channel; I guess airing on a pay channel means a bit more than debuting on network TV in the public's eyes. Finally I see the talent that Yates has, after being quite under-whelmed with his latest entry to the Harry Potter franchise. Let's give mention to screenwriter Richard Curtis, as well though, for his words are what make the film as powerful as it is—with a little help from its two leading actors as vessels for them.We have an older gentlemen, a financial researcher for the Chancellor of England, who, on a break from his hectic all work no play life, meets a young girl in a café. The two have an awkward moment drinking tea and coffee respectively and eventually make a date to meet again for lunch. This relationship is portrayed as strangely as it would be in real life. The older man doesn't quite know what the woman's motives are; does she see him as a friend, a father figure, or a lover? With that kind of confusion, each moment with the two of them is an adventure of uncomfortable tension, sexually and emotionally. This aspect is very integral to the way in which the film plays out, and with lesser actors, it could have failed miserably. Thankfully we have the radiant Kelly MacDonald and the consummate professional Bill Nighy. In a role that is the exact opposite to his part in Curtis' Love Actually, complete with a dream telling of a life he wished to have lived being the one he does in that film, Nighy is remarkable as the isolated businessman who has lost his way in social situations. The ticks we are used to seeing in his performances are very prevalent and his skittishness around the girl he is falling for is true and real. As for MacDonald, she never strays from the broken woman she is playing. We learn very little about her character's past, but what we do find out tells us the reasons for everything she does. Sometimes fate has a way of playing tricks on us. Both these people needed each other at that point in their lives to show them how to live again in a world that is on the quick spiral down the drain. Her past makes it seem as though what she does was premeditated, but "the facts aren't there." Her being thrust into the situations she becomes privy to is coincidence, and she would not be able to live with herself if she didn't try and take advantage.What I originally thought would be a pretty cut and dry love story ends up being very much more. The bond forged between our two leads is paramount to what transpires if only to allow us to understand how it could have been able to go as far as it does. We don't ever get to know if what MacDonald's character says will have any bearing on the G8 Conference she has been at, but that is the only ending I could ever see as fitting the film that lies before it. Through all the turmoil of a love affair between two people around 30 years apart in age, we are also given the strife of the world trying to come up with a plan to stop poverty. The politics are a huge part of the tale and while it does push an agenda, it does it in a way that progresses the plot. This is not a message movie for that effect alone; it is a tale of love and awakening in the world of political agendas and meetings. For that I credit all involved, because they never fall into the trap of patronizing or forcing the audience in any way. What is instead shown is a powerful film of the meaning of morals and right and wrong and how unexpected meetings can change the course of history. With one of the most emotional endings in a movie that I have seen in some time, it is also the sweetest little gem of cinema I've enjoyed during that same duration.

This movie is a gem. It starts off on a simple premise, a shy older man meeting equally shy young woman, and having them slowly and painfully develop a relationship. You learn a lot about the older man, but the young woman is a mystery, her character unrevealed, but half way through the movie she starts to assert herself, and her character then comes out and takes the movie on a completely unexpected direction.Lawrence is so shy and awkward he is almost a parody but Bill Nighy manages to present the character in an open and expressive way that is believable and interesting. So many of these types of characters are presented as repressed, which stifles the actor and makes the character less attractive but Lawrence honestly and openly shows his inner turmoil which makes the character very appealing.Gina is also shy, but as presented by Kelly Macdonald there is much more than that going on. She seems to be in pain, and her shyness is mixed with fear. Her vulnerability enhances her attractiveness, and Lawrence cannot stop thinking about her. We never quite find out why she is attracted to him, but the attraction between the two characters is strong and believable, and forms the core of this movie.As is usual in movies from the UK, the supporting roles are not just simple stereotypes but fully formed complex characters giving the actors who play them a lot to work with, and they all succeed in beautifully bringing all these characters to life.If you like your movies simple, well written, beautifully acted, you will enjoy this. I really enjoyed it. I hope the producer does a sequel because I would like to spend some more time with Gina and Lawrence.

It seems that most (possible all) reviewers are unaware of the political background to the making of this film.This movie was made in anticipation of the 2005 G8 summit, hosted in the UK. It was broadcast shortly before the summit. Gordon Brown, then the UK Chancellor of the Exchequer (in other words the finance minister/secretary) made a big noise in the months leading up to the summit about increasing aid to poorer countries, cancelling debt etc. He wanted to save the World, and to be seen doing it.No doubt his aims were in part genuine – he's a big government, high tax, high government spending, "social justice" type of politician. However, his crusade was also a part of his campaign to make himself appear to be big, important and popular - in pursuit of his ambition to become UK Prime Minister. (In June 2007 he achieved his ambition.) The BBC as an institution are generally inclined towards the same big government, high spending approach as Gordon Brown, and this is reflected in their programming. During the run-up to the summit they ran a series of programmes deliberately designed to create and bolster popular support for Gordon Brown's position and the "Make Poverty History" campaign. This film was one of those programmes.The BBC were open about the film's motivation in their original press release announcing the production. However, they were not as open to the public at the time the film was broadcast. No mention was made at that time of the political content. The movie was promoted entirely as a love story starring Bill Nighy (who was then enjoying the greatest degree of popularity and success that he has experienced during his career).In other words the BBC set out to entice viewers to watch a politically motivated morality play whilst pretending that it was nothing more than a love story.The film was written by Richard Curtis, a member of the Make Poverty History campaign. A quote from the BBC press release announcing the film makes things clear; "The Girl in the Cafe is a passionate plea to everyman - wrapped in a love story, a comedy and a unique drama." The full press release can be found on the BBC's website.The political storyline deliberately mirrors reality. The fictional UK Chancellor of the Exchequer, like the real one, is seeking to save the World – and in exactly the same manner. Other G8 countries are selfishly unwilling, but the girl in the story (Gina) magically metamorphoses from quiet, reserved and (apparently) entirely apolitical into an impassioned and eloquent champion of beliefs which are identical to those of the real "Make Poverty History" campaign.What we have with this film is a story which begins as a romance between two reserved and lonely people, and then veers unsubtly into the promotion of a particular political viewpoint. It is only fair that people should be aware of this before they decide to watch a production that is promoted as a mere romance.The film itself is OK up to the point at which the politics take over. I can't really rate it as more than OK; it is very flat and pretty grey.Once the political messages start flying I guess the viewer's enjoyment will depend on their own political standpoint. If they are in the "something should be done" camp, or find themselves in that camp after watching this movie, they will rate the film highly. However, if they hold differing viewpoints, or regard the film's political points as shallow and simplistic, I very much doubt that they will enjoy the production. Without the political content the film is terribly weak – because the political content is the main story.The storyline deliberately leaves the political issues unresolved, although it hints at a positive outcome (as seen from the political perspective of the writer). The point that the film seeks to promote is clear when the film's broadcast date is placed in its chronological context; if sufficient pressure in the form of public opinion is brought to bear upon the politicians a positive outcome (again, from the writer's political standpoint) can be achieved at the real 2005 G8 summit. The writer is telling the viewer "It's up to you. Do something about it – now."This being said, the story does contain certain dark overtones. Gina ruins the lead character's career by making her suspiciously capable political stand. Can their meeting really have been coincidental? After all, she breaks up with Bill Nighy's character at the end of the film. Perhaps she used him for her political purposes and then, her aims achieved, dropped him as he was of no further political use to her? Bill Nighy's character suspects as much, in his diffident way, but she points out that it was he who spoke to her first in the café. But did she place herself in a position where he would be likely to do so? And if he hadn't spoken to her first, would she have then been the one to initiate contact?In a normal film my conclusion would be that Nighy's character was used by the girl for political purposes. But this isn't a normal film, so it is interesting that the writer should choose to address this possibility. Perhaps his aim was to eliminate all possible suspicions concerning Gina's motivations in viewer's minds by the inclusion of the "You spoke to me first" scene. However, if this was his aim, he failed – at least for this viewer.The unresolved questions at the end of the film add a little interest, but not enough. Not nearly enough for me to recommend this movie to potential viewers.Avoid.

I usually hate films like this one. But this one is different. It's quiet, cute and innocent in its own little way. That is much due to the outstanding acting. Both Bill Nighy and Kelly Macdonald are brilliant. Nighy in particular is so convincing that it's hard to see him in other films without automatically thinking on of him as Lawrence. What first caught my interest in this film is the opening scene, which pretty much shows what you can expect from the rest of the film. And still it's not predictable in the same way as films like this one often are. It's absolutely worth giving it a chance. Who knows? Maybe you'll love it, maybe you'll hate it. But I enjoyed it from beginning to end.