Gosford Park
Tags: dark, mystery, murder, atmospheric, satire, romantic

Plot synopsis:
In November 1932, Constance, Countess of Trentham (Maggie Smith), and her lady's maid, Mary MacEachran (Kelly Macdonald) travel to Gosford Park for a weekend shooting party. On the way, they encounter actor Ivor Novello (Jeremy Northam), American film producer Morris Weissman (Bob Balaban) and Weissman's valet, Henry Denton (Ryan Phillippe), who are also attending the hunting party. At the house, they are greeted by Lady Trentham's niece, Lady Sylvia McCordle (Kristin Scott Thomas), her husband Sir William McCordle (Michael Gambon), and their daughter, Isobel (Camilla Rutherford). The other guests include Lady Sylvia's sisters, Louisa, Lady Stockbridge (Geraldine Somerville) and Lady Lavinia Meredith (Natasha Wightman) and their husbands, Raymond, Lord Stockbridge (Charles Dance) and Commander Anthony Meredith (Tom Hollander). Also in attendance are the Honourable Freddie Nesbitt (James Wilby) and his wife, Mabel (Claudie Blakley); Isobel's suitor, Lord Rupert Standish (Laurence Fox) and his friend Jeremy Blond (Trent Ford).
The servants' hall is divided by a strict social hierarchy, dominated by the head housekeeper, Mrs. Wilson (Helen Mirren). She maintains a hostile relationship with the head cook, Mrs. Croft (Eileen Atkins). Mary is immediately intrigued by Lord Stockbridge's valet, Robert Parks (Clive Owen), who has recently changed his job to work for Lord Stockbridge, but was previously with the Earl of Flintshire, and who was raised in an orphanage. The head housemaid, Elsie (Emily Watson), takes a kindly interest in the naive Mary and guides her through the complexities of being in domestic service.
Sir William is an extremely rich industrialist, and much of the company are dependent on him in one way or another. Commander Meredith is in on the verge of bankruptcy and is outraged when Sir William announces he intends to withdraw his investment in Meredith's latest business venture. Lady Sylvia reveals to her aunt that William may stop paying Lady Trentham's allowance. Freddie Nesbitt was having an affair with Sir Williams' daughter Isobel, and is blackmailing her to keep the secret of an aborted pregnancy. Likewise, Rupert Standish is trying to romance Isobel for her money.
Lady Sylvia makes an assignation with Mr Weissman's valet, Henry Denton, for 1am that night, and it becomes clear that she is in the habit of having brief sexual liaisons with visitting male servants.
The next morning the men go out early on a pheasant shoot, and Sir William is slightly injured by a stray birdshot. Later, the ladies join the gentlemen for an outdoor luncheon on the estate grounds, where Commander Meredith pleads with Sir William not to back out of the investment.
Dinner that evening is tense and sombre. As the conversation progresses, tempers flare and Lady Sylvia attacks Sir William, implying that he was a First World War profiteer. Elsie rises to his defence, breaking the class barrier, and thus revealing her affair with Sir William to everyone at the table. Everyone watches in shocked silence at this indiscretion, and Elsie hurries from the room—knowing that she will be dismissed.
Sir William abruptly storms away from the dinner table and goes to the library, where Mrs. Wilson brings him coffee. He demands a glass of whisky instead. Lady Sylvia asks Mr. Novello to entertain the guests. During the concert, George (Richard E. Grant, first footman), Parks, Mr. Nesbitt and Commander Meredith disappear. An unknown person goes to the library and stabs Sir William as he sits slumped in his chair, apparently sleeping.
Minutes later, Lady Stockbridge goes to the library to entice Sir William to return to the party and her screams bring everyone to the room. Commander Meredith and Mr. Nesbitt do not offer an explanation of their disappearances, while George says he was fetching milk for the coffee service and Parks claims to have been fetching hot water bottles.
Inspector Thompson (Stephen Fry) and Constable Dexter (Ron Webster) arrive to investigate the murder. Dexter suggests that Sir William was already dead when he was stabbed. It is eventually discovered that Sir William was poisoned before being stabbed. Inspector Thompson uncovers a complex web of resentments between the guests and Sir William, realizing that almost everyone had a motive to murder him.
Mr Weissman's valet, Henry Denton, then reveals that he is in fact an actor who has been masquerading as a valet in order to improve his acting in the forthcoming film Mr Weissman is about to start filming.
Mrs. Croft, meanwhile, tells her kitchen staff that Sir William was known for seducing the young girls working in his factories. If a woman became pregnant, Sir William offered two choices: keep the baby and lose your job, or give the baby up and keep your job. Those who gave up their babies were told that the adoptions were being arranged with good families. In reality, Sir William paid squalid orphanages to take the children. Mary goes to Parks' room and tells him that she knows he is the murderer. Parks tells her that he discovered Sir William was his father, entered service and attempted to gain employment with someone in his circle. Parks tells Mary that he only stabbed the corpse, someone else had already poisoned Sir William beforehand.
Mary overhears a conversation between Lady Trentham and Lady Sylvia, who discloses that both Mrs. Croft and Mrs. Wilson were once workers in Sir William's factory. Lady Trentham asks if Mrs. Wilson was ever married and Lady Sylvia replies that her name was once Parks or Parker. Mary makes the connection and goes to Mrs. Wilson, who admits that she poisoned Sir William after realizing that Parks was her son, assuming correctly that he was there to murder his father. She also reveals that she and Mrs. Croft are sisters. Mrs. Croft kept her own baby from Sir William, who later died from scarlet fever, while Mrs. Wilson gave hers up, creating a lifelong rift between the two sisters.
Inspector Thompson decides to let everyone leave, as he has their addresses anyway. The guests depart one by one, while Mrs. Croft comforts her grieving sister in private, putting to rest their feud.

Review: Robert Altman's long, fragmented and very hit-or-miss career reaches another of his periodic highs with this clever and beautifully realised dissection of the English class system and skit on the classic Agatha Christie whonunnit.Altman's preferences for kaleidoscopic social observation has sometimes failed in the past due to the weight of its own ambition: multi-plotted and multi-charactered snapshots of time and place held together by loose ties or a general thematic framework.
Add to that an exemplary cast of (mostly) British character actors and a knowing script by Julian Fellowes that gives Altman's keenly observant camera plenty of time to make its own points.Rightly, Altman is less concerned with the murder mystery, which is almost an aside, than with the opportunity given by a shooting party at a 1930s stately mansion to observe the English aristocracy and their servants in social interaction.Never happier than when involved in a bit of human anthropology, Altman lightly dissects the complexities and hierarchies which go on both above and below stairs; in which many subtle and unsubtle rituals are played out among groups of people who clearly dislike each other but are forced through circumstance, need or employment to observe the fundamental social practices required.1932 is also a time of intruding change into the nature of the old English ruling classes, slowly disintegrating in this between-wars period and, in this case, largely reliant on the wealth of one particularly reluctant patron to keep them in furs and flunkies.
Only at the very end, when fundamental change has occurred and many characters are left to face up to very different destinies do we see a bit of sunshine creeping in, heralding the dawn of a new era.The cast are all excellent, with special mention deserving of Maggie Smith's effortless scene stealing as a bitchy but broke old Countess; the ever reliable Jeremy Northam as matinee idol Ivor Novello, well aware of his place in the great scheme of things and young Kelly Macdonald in the pivotal role of Smith's harassed maid who's inquisitiveness rattles a whole load of family skeletons..
When Robert Altman makes a new film, it's always a noteworthy event that gets the attention of critics and audiences alike: large productions with huge ensemble casts of major Hollywood movie stars, playing real people with full, fleshed out characters, each with their own subplots that intertwine only subtly, until the end when it all finally makes sense.
In Gosford Park, Altman makes only two changes to this formula: Hollywood stars are replaced by Top British talent that may be unfamiliar to most American audiences, and a straightforward murder mystery supplants his traditionally complicated plot line.
While the story was reminiscent of Agatha Christie's Ten Little Indians, where it's the mystery that captivates the audience, Altman goes beyond the mystery with Gosford Park by using the murder as a vehicle to draw attention to the human condition and class hierarchy.On the downside, but to no surprise to fans of Altman's work, the movie is often hard to follow.
The story begins to focus on Mary, who discovers secrets among the visitors and leads the audience to solve the mystery.The great aspect about this film is Robert Altman's abilities to bring the past to life.
If viewers think that Gosford Park is "boring" or "confusing" or even "the worst movie ever", it may be that you're not willing to see what really is portrayed: the authenticity and its story.
The brilliant story as well as excellent character development are like no other: only Robert Altman could do a film such as this.
Greats of English theatre like Derek Jacobi have small but memorable roles and there is not a bad note struck from any of the predominantly English cast.I was slightly puzzled by the character played by Ryan Phillipe (although his perforamce was fine) but felt that the intrusion of two Americans into this  English mix worked well to highlight the entrenched class roles played by everyone in the house.Whilst perhaps not his best work, this is a very good Altman film - we move in and out of conversations whilst never losing their import and the cimematography has a fluidity that few other film makers can match.A classy piece of film-making that rewards careful attention from the viewer..
Stories and characters play out but whenever a murder takes place, the police move in and everyone is a suspect.My plot summary suggests that this is a sort of murder mystery and that this will act as the driving force behind the narrative, however this is not the case and in reality the film is much more about the characters and relationships than it is about the murder.
The direction is great; the use of two cameras in group scenes means that the actors seem to flow around as naturally as their dialogue would suggest  few seem forced to act to a fixed point and seem more realistic.Considering the talent on board, it is not surprising that nobody really upstages anyone in particular and the ensemble feel is strong.
Some viewers will find it frustrating that it takes so long to get to the point where the mystery kicks in but I actually found this to be the weaker aspect of the film and the most enjoyable parts were the well written characters and dialogue, which deservedly won Fellowes his Oscar..
The film also slowly demonstrates the disintegration of the English class system (that started around the war).Altman has assembled a mountain of talented actors that include a bitchy Maggie Smith, a pompous Michael Gambon, an obnoxious Kristin Scott Thomas, a vulnerable Camilla Rutherford, a desperate Tom Hollander, a devil-may-care Geraldine Somerville, a knows-where-he-stands Jeremy Northam, a douchebag Bob Balaban, a horny Ryan Phillipe, a stupid Stephen Fry, a loyal Sophie Thompson, a principled Helen Mirren, an enigmatic Clive Owen, a no-nonsense Emily Watson, a not-to-be-messed-with Richard E.
It thrills me to say that after a string of stinkers ("Dr. T and the Women," "The Gingerbread Man") and so-so light films ("Cookie's Fortune"), Robert Altman has an unequivocally excellent film on his hands with "Gosford Park." It's a film that works on many layers and needs to be seen more than once for one to fully appreciate its resonance.The film admittedly stinks as a murder mystery---it's almost funny how little Altman himself seems interested in the who-dunnit.
This movie isn't about a murder in a country house; it's a movie about class differences and people connecting (or not connecting) with one another.It seems futile to mention stand out performances in a film filled to the rafters with stand-out performances, but I did especially like Emily Watson as a cheeky maid, Helen Mirren as the "perfect servant," and Kelly MacDonald as the novice lady's attendant who grows more than anyone else over the course of the film.The film is at its best when it's probing the emotional depths of the story---it comes across as a bit too glib when the satire gets especially acidic (mostly with the Kristin Scott Thomas character), but like the best of his movies ("Nashville," "M*A*S*H," "Short Cuts") Altman knows how to control his own cynicism and doesn't let sarcasm rule.With his on again-off again track record, we can expect the next Altman film to tank, so let's enjoy this one while we can..
Gosford Park is one of those movies.Robert Altman certainly shows that he is a very competent film-maker here.
However, those who really appreciate and understand the movie know more than clear that the film itself focuses on the life of the upper-class people (and the life of the time) rather than a bloody crime.
The movie didn't make me care for any of the characters, want to learn more about them and what motivates them, or give any further attention to their boring tea parties, hunting trips or twisted relations with their butlers and maids.At one point of the film I just began looking at my wrist watch, trying as hard as I can not to fall asleep, waiting for the promised murder mystery to occur so there would be some sort of force of interest to push the plot forward.
I imagine that he would have more vigorously interrogated potential witnesses had the murder occurred in a poor or middle class district, but he behaves submissively when dealing with the guests at Gosford Park.Attending a shooting party like this one is an exercise in straddling that line between intent and image.
Yet I feel as though a fellow English speaker, even a thoughtful and aware individual, could spend a weekend at Gosford Park and walk away thinking only of how charming the affair was, but having no clue as to what was really going on.Despite all of this I can't agree with the film's outlook, an outlook I would call altogether cynical.
It's also brilliantly written, directed and performed and is probably Roger Altman's best film after "MASH".In 1932, Sir William McCordle (Michael Gambon) and his trophy wife Sylvia (Kristen Scott Thomas) invite a number of guests over for a shooting weekend.
Hopefully, Inspector Thomson (Stephen Fry) and his constable companion Dexter (Ron Webster) can crack the case before all the guests have to return home...Like most murder mysteries, "Gosford Park" spends a lot of time filling the screen with details both relevant and irrelevant.
The script, penned by "Downton Abbey" creator Julian Fellowes, leaves just enough to keep you guessing but because it spends so long setting the crime up, you sort of feel as though he's more concerned about writing a period piece as opposed to a mystery.Although it won't be to everyone's taste, "Gosford Park" feels like a big-screen outing for Mrs Marple but without the silver-haired sleuth in attendance.
It's not just because I have seen virtually every Merchant-Ivory/A & E/BBC/PBS costume drama and period mystery and spent a summer in junior high reading every Agatha Christie mystery that I think "Gosford Park" is terrific.Robert Altman commissioned Juilian Fellowes ("Lord Angus" for "Monarch of the Glen" fans so of course he could also advise on etiquette during filming) for a script with very specific guidelines to work within the bounds of a genre satire.
(We are spared one of the usual easy target pickings, the Fascist sympathies of the aristocracy, by fixing the shooting party weekend as taking place very specifically in 1932.)The ensemble character acting and camera movement are simply masterful -- with Altman's mandate that we only see scenes that the "downstairs" folk pass through or are in, equating them with the spying camera, and us, too, of course.
While Maggie Smith seems to stand out because her character is noisier, a fellow actress protested in an interview that Smith did not in fact get the best lines -- she just did more with them -- like what she does to the phrase "day-old marmalade." Spotlighting particular performances could be endless -- though of course I got a kick out of two of my favorites, Clive Owen, who fairly radiates sexuality here, and Ryan Phillippe, playing for both teams, plus Richard Grant's smirks are priceless.
I was initially drawn to this movie by the excellent cast, mainly British, and period setting, 1930's English country estate, of this powerful film.
There were enough tongue-in-cheek lines to keep me entertained from start to finish.The movie also shows the world and attitudes of the old order British aristocracy clashing with the new money class from the American film world.
Other excellent performances come from Helen Mirren as the head servant, Kristin Scott-Thomas as the snobbish, world-weary lady Sylvia, Stephen Fry as the Inspector (although his incompetence is stressed a little too heavy in my opinion) and Alan Bates as Jennings the (alcoholic) butler.As a true anglophile, this film was really 'my cup of tea', as the British would say, and I rate it a perfect 6 out of 6 on my dice.
I did somewhat enjoy Nashville, BUT, his particular style does not leave sufficient time or space on film to develop the characters in any depth, nor do we see any real growth.I had a similar reaction to this film, but found Gosford Park even less satisfying, thanks to the very high hopes I had based on the writing of Julian Fellowes, which has been so magnificent in Downton Abbey, and on the sheer number of extremely talented actors/actresses in the cast.
Mr. Altman seems not to have sufficient regard for his audience to feel that it is necessary to actually tell a story.The result for me is a film which doesn't know what it wants to accomplish - will this be a rich, rewarding drama of lives affording us the opportunity to care about intriguing characters, or will this be a brain-teasing British mystery?
For the sake of entertainment they give us some broad comedy and a silly murder mystery by way of Agatha Christe presided over by a bumblingly daft Inspector of Clouseau-like incompetence played by Stephen Fry. But you know instinctively that this is not the real reason for "Gosford Park".
Then the story also sprawls into the realm of murder mystery, but like other Altman films, the characters are paid more attention to than the plot which could be tricky yet it is pulled off making this a stylish, joyous semi-comedy.
Large cast includes the likes of British veterans and newcomers including: Michael Gambon, Maggie Smith, Kristin Scott Thomas, Derek Jacobi, Clive Owen, Emily Watson, Kelly MacDonald (her best performance since Trainspotting), Ryan Phillippe, Stephen Fry, Helen Mirren, Jeremy Northam and Balaban himself as a movie producer.
And all the King's horses and all the King's men (to say nothing of the knights, ladies and other A-list British actors who mostly comprise the sterling cast) couldn't put Gosford together again.The idea of creating one movie from several familiar English story lines no doubt seemed tasty to Altman and his collaborators Bob Balaban and Julian Fellowes.
The direction is spot on, Robert Altman can be hit and miss, but when he is in the hit category he is very good, which is the case here.I also love Gosford Park for its witty dialogue especially seen with Maggie Smith, its beautiful autumnal setting though I love the cinematography and costumes just as much and the appropriately jazzy score.
Watson I think does a really good job playing a maid who seems to want more from life than just waiting on people, but at the same time is tied to her employer for a very different reason.Summing it up, Gosford Park delivers.
Forget for a second the stellar cast, the remarkable acting, the well-crafted script and the stylish directing and enjoy it for the way it paints little character portraits and draws you into the era.If you enjoy good film-making, I defy you not to take something away from Gosford Park..
A wonderfully non-Hollywood movie which concentrates on characters and plot and the subtle interaction of those people rather than the usual tired buildup to a smorgasbord of violence.Altman's plot and direction were a contemporary look back at the way films were assembled during the actual time of the setting of Gosford Park.
In my opinion he was making a film about the early Thirties at the same time that he was making a movie that harkened back to that period: the product was delightfully refreshing in every way!The actors in the film relished the lines and the plot subtlies that  Altman presented to them: because of their consummate acting abilities they were able to add substance to a large assortment of characters which meant that the viewer was able to, in effect, watch many little films rather than simply watching one or two principle actors rolling over many smaller roles-as happens all too often.
It was, therefore, something of a surprise to see Robert Altman, a director with a reputation for being forward-looking and experimental, making a film based upon what could easily have been a Christie plot, although Julian Fellowes's screenplay was in fact an original one.Yet in some respect Altman's style is suited to a murder mystery.
It is a much more unlikely character who actually solves the mystery.The film's cast list reads like a "Who's Who" of the British acting profession.
There is not space enough here to praise all those who deserve it, but I must single out exceptionally fine contributions from Maggie Smith as Lady Constance, Helen Mirren as the housekeeper, Kelly Macdonald as the Scottish maid, Alan Bates as the drunken butler Jennings, and Clive Owen as Robert Parks, a young man who harbours a long-standing grudge against Sir William.The film also features another of Altman's trademark devices, the use of overlapping conversations.
Robert Altman has made a truly superb film about life in a 1930's country house house with all the upstairs/downstairs prejudices and snobbery.The first hour is mainly taken up by perfectly paced character development.Then the murder happens and the guessing begins.
I love most of the very talented actors in Gosford Park, but this film rates as one of the most boring movies I have ever seen.
The story line is convoluted in the extreme, perfect for such a "murder mystery." I put that in quotes because homicide is only an excuse for screenwriter Julian Fellowes, director Robert Altman, and a brilliant contingent of actors to provide some of the most captivating dialogue and characterization that you are likely to see in any film anywhere.
I knew it received some Academy Award nominations and that's about it.What started like just any other period drama turned out to be one of the best written and amazingly acted films I've seen.I love movies with characters talking.
I saw the movie thinking it was a murder mystery comedy film.
Granted, it was my first experience watching a Robert Altman film, and knowing that Altman is known for his large ensemble cast movies, I should have expected this.
Robert Altman did an excellent job with the character interaction that takes place throughout the movie.