Director: Vadim Jean.
Screenplay: S.A. Halewood.
Starring: Valerie Edmond, Gerard Butler, James Cosmo, Valerie Gogan, Carl Proctor, Danny Nussbaum, Dilys Miller, Ron Guthrie.
Over the course of the next couple of days I’ll be posting a little trilogy of Scottish films that will have, no doubt, passed many people by and are certainly worthy of some more attention. I’ll begin with this 1999 film set in the Scottish borders that although it falls into a particular romantic genre, it dares to do things differently and succeeds admirably.
Sarah Hopson (Valerie Edmond) has been living a successful, high-flying lifestyle in New York but when she finds out that she has a terminal illness, she heads back home to Scotland to prepare for her death. When she arrives, she reacquaints with her childhood sweetheart Sam Murray (Gerard Butler). Sam now runs a restaurant and has since married but Sarah approaches his wife (Valerie Gogan) to ask that she spend time with him before her death – causing everyone some mixed emotions.
The film opens with a lone female, arms aloft, teetering on the edge of a skyscraper. It’s a powerful piece of imagery and an opening scene that sets the tone of this heartfelt tale. This is not a film about death but about life, love and relationships. It explores the mistakes and regrets but also delivers a chance of redemption. It’s in the human relationships that this film finds it’s strength. It’s not just about Sarah and her need to tie up loose ends but it confidently explores the effects on the people around her; she brings both a mixture of pleasure and pain to the other characters. At times she can come across as arrogant and selfish yet she also brings hope and instills a belief in people to live their lives fully. This is a film that wears it’s heart on it’s sleeve and for the most part, the performances are great. It’s interesting watching a young Gerard Butler and Valerie Gogan as his suffering wife is fantastic. James Cosmo is also especially memorable as Sarah’s cantankerous, rough diamond father. However, Valerie Edmond as the lead, looked a little stretched at times which I just couldn’t understand; in some scenes she was absolutely superb and in others she was quite poor. This could be down to her delivery of the dialogue though. I tend to be a little harsh on Scottish performers as sometimes the dialogue isn’t delivered properly. Most Scots have a certain slang nature to their dialect and when you hear words uttered with correct English pronunciation it jars a little. Understandably this has to be the case, so as to appeal to a wider audience but as a Scotsman, it seems out of place. That being said, Edmond still gets the job done and although some of the idiom may lost, the film still retains it’s subtle Scottish humour and delivers moments of highly impressive, realistic drama.
Despite some small inconsistencies this is still a beautifully played, poignant and heartfelt life/love story. It’s not normally the type of film I’d be drawn to but I was impressed with it’s execution.
Next up… “Dear Frankie“.