The Theory of Flight (1998)

Director:

Paul Greengrass

Writer:

Richard Hawkins (writer)

Release Date:

22 January 1999 (USA)

Genre:

Comedy | Drama | Romance

Plot:

A dreamer (Kenneth Branagh) who aspires to human flight is assigned public service after one of his attempts off a public building...

Plot Keywords:

Wheelchair | Independent Film

Awards:

1 win & 1 nomination

Cast

Helena Bonham Carter	...	Jane Hatchard
Kenneth Branagh	...	Richard
Gemma Jones	...	Anne
Holly Aird	...	Julie
Ray Stevenson	...	Gigolo
rest of cast listed alphabetically:
Daryl Beeton	...	Club Organiser
Robert Blythe	...	Farmer
Richard Hibbert	...	Kite boy
Aneirin Hughes	...	Doctor
Jill James	...	Mrs. Allen
Sue Jones-Davies	...	Catharine
Ruth Jones	...	Becky
Frances Lima	...	Julie's Colleague
Sian Naiomi	...	Volunteer
Gwenyth Petty	...	Magistrate
Dilys Price	...	Mrs. Williams
Nia Roberts	...	Checkout Girl
Deborah Sheridan-Taylor	...	Shop Assistant
Natasha Williams	...	Care Worker
Sidney Williams	...	Club Owner

MPAA:

Rated R for sexuality and language.

Runtime:

101 min

Country:

UK

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Iceland:L | Argentina:13 | Australia:M | Chile:14 | France:U | Germany:12 | Hong Kong:IIB | Singapore:PG | UK:15 | USA:R | Philippines:PG-13

Filming Locations:

London, England, UK

Company:

British Broadcasting Corporation (BBC)

Quotes:

Jane: Most people don't like to walk next to me.
Richard: Yeah, and why is that?
Jane: It implies friendship.

Movie Connections:

References Pretty Woman (1990)

Soundtrack:

Send Me on My Way

Pretty decent stuff, actually

Despite its low-key release in this country, and its apparent disregard in other countries (the 'R' rating in the States can't have helped - honestly, just because HBC uses the C-word!), this is actually a fine piece of work. The sentimentality does occasionally threaten to choke it, but it's overcome by the playing of the two leads.

It's easy to win plaudits just because you're playing a physical or mental cripple (Daniel Day-Lewis, Geoffrey Rush, Dustin Hoffman, etc.), and Helena Bonham-Carter may not quite capture the physical degradation of MND, but her vocal stretching and ruthless emotional drive compensate entirely. In fact, almost all her performance is conducted through her eyes (and what eyes!). This is an intelligent turn from an actress who is rapidly undoing her English Rose reputation, and emerging as a figure of some stature. Awards must surely follow, though not, alas, for this fine performance.

Branagh, one feels, has never quite given his best on film (except possibly 'Hamlet', and there his playing was diluted by the large cast). Here, though, he tops his other appearances, playing to the hilt a self-loathing, unstable, ultimately lovable guy with a subtlety he hasn't always displayed, and exhibiting both intelligence and depth. In short, we believe him, just as much as we could NOT believe him as Frankenstein, as the priest in 'The Proposition', as the lawyer in 'The Gingerbread Man', even as Andrew in 'Peter's Friends'. This is surely his finest performance yet - so why could he not produce the goods much earlier?

As a film, it looks more like a television offering, and without its stars it probably wouldn't amount to very much. But it's been a pleasure to see this pair perform their socks off like this, and I eagerly await more from them (though not 'Love's Labour's Lost'...). 8 out of 10, but Branagh and HBC get 10 out of 10.