THE BEST EXOTIC MARIGOLD HOTEL

By: debbie lynn elias

Fox Searchlight has gone and done it again and picked another winner as THE BEST EXOTIC MARIGOLD HOTEL is, without a doubt, a mandatory nominee for Oscar – several! Best Picture, Best Adapted Screenplay, Best Cinematography and more than likely, Best Supporting Actress for Maggie Smith and quite possibly, Best Supporting Actor nods for Bill Nighy and yes, possibly even, Dev Patel. BEST is quite simply THE BEST!

A visual stunner, this is a feast for the heart and the senses as we follow a group of British retirees from various walks of life who through happenstance (and scripting) make India and THE BEST EXOTIC MARIGOLD HOTEL their destination in their twilights. Stunning is the emotional dichotomy of this story being set in India – a land so colorful, vibrant and alive; one can see the heat and dust rise from the street and the smallest bit of milkweed flower waft in the wind – and then juxtapositioned against a group of people at the end of their productive lives, so to speak. Placing this eclectic group of individuals into this setting is as regenerative as if they were being reborn or revitalized daily at a spa.

Billed as a palatial hotel with all the amenities, our travelers find THE BEST EXOTIC MARIGOLD HOTEL to be anything but that. But one canft judge a book – or a hotel – by its cover, and while on the outside the hotel appears rundown, neglected and forgotten (much like our little group), thanks to the eager beaver energy of Sonny Kapoor, the hotelfs owner, “Mr. Positivity” himself, we all learn that the magic lies deep within the heart, both in the hotel and each individual. An invigorating aspect of the story.

Numerous words come to mind while watching THE BEST EXOTIC MARIGOLD HOTEL – gentle and genteel, quaint, charming, lovely, calming, heartwarming, sweet, life affirming, delightful, funny, warm, comfortable and guaranteed to be uplifting, bringing a smile to your heart and soul.

I love the cast of characters and the subtleties we learn about each as the film progresses that just keep telling us more about each of their emotionally once-rich lives. Newly widowed Evelyn who relied on her husband for everything, trusting him implicitly, now finds herself broke and alone, but willing to put one foot in front of the other and take hold of this newfound independence thrust upon her. Little details, like learning the internet and avidly reading for information, add so much to the character and the story. As Evelyn, Judi Dench shines and in many respects, is the delightful moral compass of this shining ship of fools.

The pairing of Bill Nighy and Penelope Wilton as Douglas and Jean is, while familiar (they have been coupled before in films to wonderful result), interesting to watch. As different as night and day, we immediately get a strong sense that Douglas has acquiesced to Jean’s domineering crap over the years and rather than rock the boat, has put up with it to the point of becoming numbing to the mind and body. Being the superb actor he is, Nighy transforms Douglas cautiously and beautifully with an ease and emotional excitement of a kid sneaking a look at Christmas packages before Christmas. Dare I be happy? Dare I do something for myself? His unspoken excitement is palpable and joyous to watch.

Tom Wilkinson’s Graham, while a strong driving force as the inquisitive judge who elicits information and helps move the story along, really tugs at the heartstrings as we learn of the burden and secret with which he has lived his life. And that secrecy is a perfect vehicle for aiding in the total demise of the Douglas-Jean marriage. Wilkinson is masterful as he quietly, calmly and somewhat embarrassedly, opens up first to Evelyn about his life and who he really is, and then softly apologetically also tells Jean, trying not to hurt her puppy love crush too much.

Celia Imrie’s husband hunting Madge and Ronald Pickup’s womanizing Norman add a layer of adult naughtiness. Neither wants to give up on sexual prowess, which not only provides some charming comedic scenarios, but is such an important aspect to the elder statesmen of the world today. Personally, director John Madden could have done more to capitalize on their storylines and the inherent humor of their situations to add a bit more lightness and laughter to the film.

And then there’s Maggie Smith. Embodying the prejudices of the world around her for all of her life, as Muriel, Smith excels at being dower. Although in a wheelchair for 99% of the film, Smith speaks – no, shouts – volumes with her facial expressiveness while acrid insults roll of her tongue as smooth as melted butter. Delicious. Again, as with Dench’s Evelyn, we slowly learn little bits and pieces about Muriel’s past. Magically, during those moments when Muriel is talking to a young Hindi servant, Smith’s talents explode with wistful glances and paused, broken halting words as Muriel recalls memories of days gone by. Lovingly poignant.

Written by Ol Parker based on Deborah Moggach’s novel These Foolish Things, and directed by John Madden, each character resonates with honesty and believability. Each is vital, vibrant and alive. Although the film’s set up is a bit rushed and muddled as each character is introduced as they find their respective way to India, once in India, the film takes off and soars thanks to flawless casting and performances. Plot lines intelligently and maturely address issues facing adults as lives wind down – retirement, loneliness, regret, unfulfilled dreams, youth, love, loss, death, rebirth of spirit and renewed energy, health, sex.

Magnificent is the word to describe the visual imagery. Cinematographer Ben Davis, who just worked with Madden on The Debt, is flawless. The use of light and color and framing is a synergistic masterpiece that truly celebrates life, helping paint each of our principals as if butterflies emerging from a self-imposed cocoons. Stunning, beautiful and celebratory of life and the Indian culture and spirit.