Touches You

Don't listen to the negative reviews

A lot of fun.

The film never slows down or bores, plunging from one harrowing sequence to the next.

It's not much of a stretch to think that Peter O'Toole didn't have much difficulty playing an aging actor. Despite playing a character quite close to his real self he does imbue a lot of emotion into the role. I found his relationship with Jodie Whittaker (Jesse) to be interesting mixed with sadness. You almost get a sense that he's ashamed about having feelings for her but pursues her despite himself. Her initial feelings border on pity but he soon charms her into something more meaningful.Overall it's a quiet movie that is boosted by strong performances throughout. It is an age that isn't shown often in movies and quite frankly probably makes many uncomfortable. But as I get older I can see that it's a reality that doesn't have to carry so much stigma and sadness. It's worth a viewing and might make you view old age in a different light.

Cinema has had a number of stains and gems regarding the taboo of old-meets-young in sexual relationships. Unfortunately, Peter O'Toole's quirkily misplaced majestic performance seems to have been wasted on this skid mark, devoid of any genuine justification for the risqué exploits of a perverted old man desperate to swap fluids with his twenty-year-old crush. Now, this following romance movie attribute is accepted, and expected: when boy meets girl, there is initial disdain from at least one party, resulting in a rough start to the inevitable love story, reinforcing the old convention, "The more they hate each other, the more likely they'll fall in love by the end of the movie." Here you'll find the most unbelievable and ridiculous presentation of this story element that reinforces nothing of value.Famed dramatic actor Maurice Russell, in the twilight of his seventies, meets his friend's grandniece and new nurse, Jessie. He is immediately smitten by her, and just as soon brings out the alcohol in hopes she will submit. The rest of the film is plagued with sequences of lowbrow ribaldry, with some occasional heartfelt moments on the side that are overpowered by the former, if only just.After several borderline hilarious establishing scenes showing old British men with filthy mouths exchanging medications like junkies and discussing obituaries as if in a Monty Python sketch, the film takes a turn for the painfully awkward.With Venus, this awkwardness simply does not stop. Maurice charms Jessie with the gentlemanly charisma only O'Toole can convey; Jessie is treated like a princess; the princess is then groped; she retreats, tells Maurice she never wants to see him again, and he rustles out the ideal gravelling laugh of an old pervert. Repeat. Again. And again, only more rude.The intermittent scenes of Maurice with his friends, visits with his estranged old flame, and solitary moments with his thoughts seem to have heart, but we don't feel the beat. Stanley Kubrick handled this taboo sub-genre perfectly with Lolita, not exploiting a single element, and capturing our sympathy for an older man who discovers his lust and love may be confused. Venus takes the opposite route, exploiting the taboo to the point where Jessie is a character we love to hate, and Maurice turns out to be nothing more than a shameless, horny old man.All things considered, there are only two things that nearly saved it for me. One is, of course, Peter O'Toole's performance, which beautifies his character with a surprising occasional elegance. The other is an important plot element that sadly confuses the film: Maurice, after prostate surgery, is impotent. Does this mean that his licentious erotic tendencies are the result of true love? Probably not. This was, perhaps, a simple plot device inserted only for the purpose of gaining understanding for his character, and some consideration that he is more that just a horny geezer.There are many who hail this film as a near-perfect romantic comedy, as touching as it is funny, etc. This pablum is unjustified because any substance or underlying meaning to this "love story" can only be described as ludicrous. How could it not? This certainty speaks for itself, namely when Jessie touches herself and allows Maurice to smell her fluids, yet tries to slap him when he tries to lick her fingers. I am not making this up. If this does not disturb or confuse you, by all means, enjoy the movie.I hate to describe a Peter O'Toole film as trash, but I have to say Venus is a horribly miscalculated and vain excuse for a seldom-attempted type of love story. As I anticipated, it is worthy of a single viewing only for him, proving that he is among the greatest actors of his generation, and the last hope for modern theatres to be graced with silver screens once again. That being said, I just wish this film hadn't been given the same inventive value of a watered-down dime novel dragged through a muddy gutter. Putting it delicately.

O'Toole is the outstanding actor in Venus, which is why he is the central character of course, but the film is worth examining for other reasons. For instance, it cost £3m, which is a tiny amount compared with films that get vast amounts of publicity. Venus is literate, moving, funny, engaging and, in its quiet way, something of a masterpiece. Which is more than can be said for another film beginning with V, Valkyrie, which to me was overblown, deeply flawed, and risible. A little test for anyone watching Venus; O'Toole recites a Shakespeare sonnet, number 18, and if you don't feel a swelling in your heart and catch in your breath then I guess this film is not for you.

I had heard of this film mainly from two things, the lead actor being nominated an Oscar, and it being made by FilmFour, it turned out to be quite a satisfying film, from director Roger Michell (Notting Hill, The Mother). Basically Maurice Russell (Oscar, BAFTA and Golden Globe nominated Peter O'Toole) and his friend Ian (BAFTA nominated Leslie Phillips, known for his catchphrase "Ding Dong") are two successful but ageing actors, and the best part they could get nowadays is a corpse or some arty-farty costume drama. Ian, fearful of death being around the corner, agrees to let his niece's daughter, Jessie (Jodie Whittaker) move into their flat to look after him, but it turns out Ian, a hard-drinking, rude, and dismissive twerp, can't stand 20-something Jessie. Maurice however is liking Jessie's company very much, he in fact sort of guides her with his kindness, although it is obvious that he likes Jessie - 50 years younger than him - much more than just a friend, which explains why he calls her 'Venus'. When Maurice dies in the end, with Jessie of course, she finds the courage to face her fears, and after refusing before, agrees to go nude to be painted, just like Venus. Also starring Harry Potter's Richard Griffiths as Donald, Vanessa Redgrave as Valerie, Philip Fox as Doctor, Cathryn Bradshaw as Jillian and Bronson Webb as Jessie's boyfriend. O'Toole lost the Oscar to deserved winner Forest Whitaker for The Last King of Scotland, but you can still see this is a very creditable performance, with an also endearing performance from Phillips, and featuring music and songs from Corinne Bailey Rae, including "Like A Star" and "Put Your Records On", this is quite a watchable romantic comedy drama. Good!