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Star=Amit Shah, Liam Neeson. Countries=UK. tomatometers=7,6 / 10. Year=2019. Writed by=Owen McCafferty. Director=Glenn Leyburn. | Nell Minow February 14, 2020 In a poem called  Home Burial, Robert Frost wrote, "from the time when one is sick to death/One is alone. " Those who are critically ill pass through the stages unforgettably defined by Elisabeth Kübler-Ross: denial, anger, bargaining, depression, acceptance. And they do it alone. Those around them, no matter how loving and how devoted, pass through their own stages. They face fear, grief, helplessness, compassion, loneliness, survivor guilt, exhaustion, and the guilt of feeling angry at the one who is dying. But they can never truly understand the experience of facing death, of seeing one's old life from the other side of an impenetrable glass wall. Advertisement "Ordinary Love" stars Liam Neeson and the exquisite Lesley Manville in the story of a couple who are navigating the world of serious illness, the euphemisms and delays, from initial tests that are "concerning" to the diagnosis: "the results weren't what we hoped. " Then there is surgery, radiation, and chemotherapy. Health care professionals are sympathetic but removed. Random encounters with other patients somehow become vitally important.  This first screenplay by Irish playwright Owen McCafferty is inspired by his own wife's experience with breast cancer, and the smallest details are thoughtfully observed and portrayed with sympathetic honesty. Tom (Neeson) and Joan (Manville) have an amiable, affectionate relationship with a lot of gentle teasing that may sound like bickering but is really their form of banter, clearly honed over decades together. Her name may be a reference to Darby and Joan, a popular British term from an 18th century poem that has come to mean any unassuming ("ordinary"), long-time married couple who are deeply devoted. In the poem's terms, they are "ever uneasy asunder. "  Uneasy and asunder is what Tom and Joan are about to be. In the shower, Joan feels a lump in her breast. Her last mammogram, eight months earlier, was clear, so the doctor's initial response is reassuring. But there must be tests, just to make sure. The results are not good. As they move forward, even the "good" results are not very good, and the treatments are brutal. Joan spots a familiar face in the hospital waiting room. It is Peter ( David Wilmot), another cancer patient. He was a teacher who once had Joan's daughter Debbie in his class. McCafferty understands the instant straight-to-the-point intimacy of fellow patients and the comfort that they get from being able to be frank with each other. Joan and Tom are completely comfortable with their companionable but indirect form of communication. Peter and Joan speak with the kind of directness that only comes when time is limited and choices are even more limited. McCafferty shows this in even the briefest of encounters, as with a fellow patient who gives Joan some advice on chemo. Later, another patient preparing for her first treatment gives Joan the chance to pass on that sympathetic reassurance, even as she looks at the young woman's long hair, knowing what is to come.   Manville gives a performance of heartbreaking delicacy and courage. When her hair starts to come out in clumps, it is time for Tom to cut it all off and shave her head. Watch her face as she pretends—convincingly—to find it all funny as long as he is in the room. That same look fades away as she confronts the image in the mirror when she is alone. Joan and Tom pay a tender farewell to her breasts in a scene so intimate it is almost intrusive. Manville has to go through a kaleidoscope of moods and emotions, and every one of them is precise, fearless, and searingly real. There is nothing ordinary about Tom and Joan, and their story shows us that there is nothing ordinary about love. Reveal Comments comments powered by.

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Manville and Neeson are excellent in this quiet, hermetically sealed drama about the limits of sharing a life together. “ Ordinary Love ” isn’t really a movie about cancer, even though this tender and discreet portrait of a marriage on fire begins with a woman ( Lesley Manville) asking her longtime husband ( Liam Neeson) to feel the lump she finds under her left breast. It isn’t even a movie about dying, even though Lisa Barros D’Sa and Glenn Leyburn’s direction casts a moribund pall over the drama from the moment it starts. On the contrary — and true to the title of Owen McCafferty’s semi-autobiographical script — “Ordinary Love” is a story about all of the ways that even the strongest of couples can be separated before death does them part; a story about how different kinds of pain can trace the limits and boundlessness of sharing your life with someone. Tom and Joan have been together for so long that the world outside of their marriage only seems to exist in soft focus. The two retirees live a quiet upper-middle-class existence in a seaside Irish town, and spend their afternoons power-walking along the water in order to satisfy the demands of their FitBits (she always wears earbuds, but they still manage to make each other laugh along the way). They bicker a lot, but only to remind each other they’re still alive. “I know what you’re going to say” is the most honest part of every argument, and also the reason for having them. When someone asks after Joan’s husband, she can only reply that “He’s Tom all the time. ” The tumor is the first new test this couple has faced in a long time, even if it points towards a previous tragedy that may be holding their marriage together by centrifugal force. They react to the various test results and screenings in different but consistently inconsistent ways; Joan braces for the worst, while Tom is petrified of letting his wife know that he’s scared. Strange pockets of distance begin to grow between them, as the film’s Haneke-still compositions start to separate these characters in time and space (sometimes it divides them across different floors, sometimes by different shots, and sometimes by nothing more than the crack between two panes of glass in a restaurant window). Joan’s hair falls out in clumps as she sweats through a chemo-induced fever, while Tom drowns his sorrows with a beer in front of the television. To what extent is this happening to both of them? How feasible is it for two people to share in this kind of hardship? The probing nature of these eternal questions — when asked with the seriousness they demand — is enough to make “Ordinary Love” feel like something of an ultra-sedate counterpoint to “Phantom Thread, ” in which Manville was the bystander to a marriage sustained by the transference of pain from one partner to the other. Reynolds Woodcock would make Alma suffer, Alma would return the favor, and both would find strength in the weaknesses they wielded. But the average couple doesn’t know how to handle that kind of well-controlled sadomasochism; the average couple is always looking for ways to make love symmetrical in a way that life can never be. And while “Ordinary Love” is so hermetically sealed inside the bubble of its cracking relationship that the film always feels like it’s about to suffocate to death, it’s so attuned to the meniscus of a “healthy” marriage that it remains touching even at its most inert.  Of course, it helps that Manville and Neeson are both extraordinary actors who are able to conjure a deep sense of shared history between them. This is a movie that knows that watching bad TV and bickering at the supermarket aren’t the tribulations of a marriage, but the marrow of it. It isn’t always entertaining to watch — and even those who see themselves reflected in this story might find themselves growing stir-crazy by the sparseness of its telling — but it never rings false. At the risk of glibly extrapolating lived experience from the events of Neeson’s personal life, his best performances often find him deteriorating into grief; it’s amazing how such a large man can disappear in front of your eyes in a way that makes the space around him look that much emptier. Manville does an extraordinary job of navigating between bitterness and brittleness; never over the top and sometimes heartbreakingly soft, she plays Joan as a woman whose greatest hurt might be the loosening sense of unity that’s kept she and Tom together for all these years. On the other hand, it’s a gamble to cast such remarkable (and recognizable) performers as two pointedly regular people. The movie’s greatest value lies in how it blows up the most average of conflicts into the stuff of big screen drama, but “Ordinary Love” is too sedate to milk the disconnect between its everyday saga and the larger-than-life stars who embody it; this could be anyone’s story, but it isn’t, and the film is too in denial of that tension to make anything meaningful from it. Still, there’s something to be said for a movie that shines a light into matters of the heart without having to break yours completely, and longtime couples will find this to be Valentine’s Day viewing par excellence. It’s rare to see something so unafraid to reckon with the finite boundaries of a partnership, and the way that marriage constantly forces people to renegotiate what it really means to share a life together. Grade: B- “Ordinary Love” is now playing in theaters. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

The cat dude actually ended up taking his own life a few years ago. Normal People watch online. Normal People watches. Normal People watch blog. 掃地僧be like for the first part, Y U Reveal My Job? Y U Do Dis. Normal Read more here Normal no login Normal People eng sub. Most of us spend our lives living out a daily routine — getting up, going to work, spending time with loved ones, maybe even getting in some exercise. But a cancer diagnosis can change everything in a blink of an eye, making the most mundane activities into something precious. In “Ordinary Love, ” the average lives of Tom and Joan, a long-time married couple played by Liam Neeson and Lesley Manville, are turned upside down when Joan finds a cancerous lump in her breast. Tom pledges his support to care for her — but knows he can’t fix what’s to come on the long road ahead. The love story is filled with scenes that test their bond — anger, frustration and worry ensue — but the film also shows the couple going about their normal lives. That was to humanize the story, Neeson says, and to convey that living with cancer is not always “gloom and doom, ” Manville says. Manville says she heard from breast cancer survivors who said they felt relieved the film “compassionately but accurately” depicted life carrying on — having a sexual relationship and going to the grocery store, for example — despite losing hair and breasts. Neeson says viewers who might shy away from seeing a movie based on someone’s cancer journey should know that — without sentimentalizing or sugarcoating it — the story is one of “hope, ” “vibrancy” and “a lust for life. ” Interview Highlights On creating intimacy between the characters Manville: “Well, you can't be too prescriptive about it. I mean, the relationship was very well written on the page, and the rest you kind of have to leave up to instincts and how you all come together on the day. I think Liam and I work quite similarly in that we do the homework we need to do. We learn the lines and we come in and we know the shape of things. But then you just stop playing it and you play off the other person. I was very much playing off what Liam was giving me and vice versa. We were very relaxed with each other, very easy. “The atmosphere was light, despite the fact that we're doing a film with heavy drama in many ways. Although, it's also quite funny and very beautiful and a touching love story about two people that you don't often see love stories told about, you know, a very ordinary couple and still liking each other. ” On pivoting from action movies to Owen McCafferty’s sensitive screenplay based on his own wife Neeson: “I mean, I'm still making action movies, believe it or not, at the age of 67. ” “If I had a penny for every time someone said that to me [‘I will find you and I will kill you’ from the movie ‘Taken’], I'd be very rich, but still, it was great to do especially at that juncture in my life. I was 54. No, I just turned 55 [when I completed] the first ["Taken"]. It's nice to have a departure and not to show off or anything like that, the older I get, the more I love writers. That's my passion is to read. But to read a script starting at page one, finished page 92 or something and think I haven't stopped for a cup of tea. I didn't go to the bathroom once. There's just something quality about the script that's true and real and deeply touching. And that's what ‘Ordinary Love’ did for the pair of us. ” On personal connections to breast cancer Neeson: “I've had four relations in my immediate family and my wife's family who died of breast cancer. I know when these deaths happened, how it affected me, and it was very easy to kind of channel that certainly in scenes with Lesley and the possibility that she may not survive this. I'm a man. I've lived a life. Lesley has lived a life. We just allowed that to come out of ourselves without really deeply scratching the surface. ” On Manville deciding against deeply researching breast cancer Manville: “Well, because when you're going through what Joan is, it's all happening new to them. Joan hasn't researched breast cancer. Because we had real chemo, nurses and biopsy nurses, technicians working with us. I mean, in the scenes, they would talk me through what each piece of machinery would be doing, what the biopsy with the big needle would be like, etc., etc... And so I didn't want to really be very, very prepared because it's happening to Joan for the first time. ” On showing moments of anger Neeson: “I think it was very important because otherwise you get this reverential scene after scene after scene of care and talking quietly and it's not human. You know, there is anger and frustration that I can't fix this. The guy's job, generally speaking, is to be a fixer, and he can't fix this. We have a great argument, it's a lovely scene and I'm asking her, ‘Did you take this particular pill? ’ Joan, Leslie's character, said, ‘It doesn't matter. Just pass me a pill. It doesn’t matter which one. ’ I'm saying, ‘It's absolutely important we know which one, ’ which leads to this [scene] where they literally do shout at each other and throw things at each other. ” Emiko Tamagawa  produced and edited this interview for broadcast with  Kathleen McKenna.  Serena McMahon  adapted it for the web. This segment aired on February 20, 2020.

Sometimes keeping a film simple and not overdoing it with dramatic music or big set plays actually allows a film to resonate to a larger extent and that's certainly the case here. A reminder that Neeson is actually quite the versatile actor with the right material and a powerful lead alongside him. Emotional and a story that will likely effect most of us at sometime an intelligent, respectful yet all the powerful for it film that did not overstate or understate in any department but struck the perfect tone. Not necessarily for everyone but I for one thought it was fantastic. Normal People watch video. Normal People watchers. Is something not sacred enough man like cmon. Why cant Hollywood do original ideas for tv and film. The movie was great now I gotta watch tv show? Cmon man. Why cant Hollywood come up with original stories instead of remaking something or doing a comic book movie. Or anything based on previous work. So nothing based off a book, old movie, comic book, etc. do something original. Oh wait I know why they wont do something original.

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Please let it be good. Normal People watch now. Great book. I just read it last week but So glad you uploaded this. From directors Lisa Barros D’Sa & Glenn Leyburn and inspired by the life experience of screenwriter Owen McCafferty, the life drama Ordinary Love tells the story of Joan ( Lesley Manville) and Tom ( Liam Neeson), an everyday couple who have been married for many years and still love each other very much. When Joan is diagnosed with breast cancer, the journey of her treatment highlights their devotion, as they find the best way to survive a life-changing year. During this phone interview with Collider, co-stars Neeson and Manville talk about why they liked the story of Ordinary Love, how U2’s  Bono  got the script to Neeson, telling a love story about the heart of a longtime relationship, what they enjoyed about the experience of working with each other, collaborating with a directing duo, and what’s next for each of them. Collider: I thought you both were so terrific in this film. It’s really such an incredible film. When you got this script and read it, did you know what a personal story it was for the screenwriter, Owen McCafferty, and did that make it feel weightier for you, as actors, when you’re doing something that comes from such a personal place? Image via Bleecker Street LESLEY MANVILLE: We did know that it was the experience that Owen and his wife, Peggy, had been through. But you’ve got to be careful, when making a film like this, because if you sentimentalize it, you’re not doing the people who go through it justice and you’re not presenting it in the right way. The authenticity of the script, which obviously was because Owen is not only just a great writer, he’s a well-known, established theater writer, principally. It’s his first film, and he put down his story, really, on paper. And he dramatized it, obviously, to lift it to be perhaps more filmable. But we knew that it was his personal story. Would you say that the truth to an experience like this is that there is no one truth, and that it’s the little details and little moments that make an audience find it relatable? LIAM NEESON: We had professionals and counselor specialists that spoke to Lesley about the processes that her character has to go through. All of that was real. For me, when I first read the script, it literally was a page-turner. I started at page one and finished the script and thought, “This is beautiful. This is a love story. ” Yes, cancer is in the background. I have personal experience with it. There are four members of my family and my wife’s family that have passed away from it. Lesley has a similar experience with it. The writing was very truthful and pure and beautiful. It’s a love story that we often don’t see in cinema, of two middle-aged people who’ve been together and married for 30 years, and still adore each other’s company. Does it feel like there’s a challenge in telling a love story that you’re not telling the beginning of or the end of, and you’re just showing the heart of this relationship? MANVILLE: Yeah, that’s a good point, actually. It’s not about dramatic meetings, or sentimental endings. There were things that you could read on the page and go, “Well, that’s not very good. They go to the supermarket to buy tomatoes. ” But that’s ordinary life. It’s two people, just getting on with things. I’ve always felt, as Lesley, that life is full of lots of things that are very, very regular and ordinary. It’s not full of Valentine’s Day dinners and romantic stuff. If you’ve gotta get the laundry done or stack the dishwasher or make the bed, you might as well do it with, with some joy. Even though Joan and Tom have had a great tragedy in their life, losing their daughter, and now they’re facing this new tragedy, they are two people who have brought humor into their lives, have humor in their lives, and have a profound friendship. They make going to the supermarket nice for each other, even though it’s not, in the grand scheme of things, an exceptional thing to do. Liam, I read that this script apparently originally got sent to you via Bono from U2. How does that happen? Does Bono typically scout film roles for you? NEESON: He’s my other agent. No. He’s a pal, and the producer of the film sent Bono the script because they’re pals. Bono read it and got in touch with me about it. He said, “You should read this. It’s a real page-turner. ” And it was a page-turner. So, I thought it would be terrific to do, especially when I heard Lesley Manville was going to be involved. It was a no-brainer. This film brings the two of you together, as actors, for the first time. What did you enjoy about sharing the experience with each other, and in what ways did you find that you’re fans of each other? NEESON: Lesley and I just clicked with each other. We didn’t interrogate the scenes, to any great depth. We just trusted the fact that, between the pair of us, we’ve got a number of years of experience, in theater, television and film, and we just allowed that experience to breathe, and shared that with each other. MANVILLE: We didn’t over analyze it. I was really grateful for that because it’s instinct and what you get off of each other. It’s a risk, when you cast two actors that don’t know each other, to do something intimate, and they got lucky because we did just hit it off and it was all easy. I know that’s a really strange thing to say about a film with such difficult subject matter and definitely challenging scenes, but we just got on with it. There was never any going up and saying, “I’m going to do a difficult scene now, so don’t talk to me. ” The crew were incredibly sensitive to all of that, and they were so good because they knew that we were two people who weren’t going to make a fuss about it, and that we’d just go on and do it. NEESON: She’s a very easy person to love. You talked about how great the script was, but there’s also the other puzzle piece of directors, and what they do with the material and what their vision is. When you spoke to the directors, Lisa Barros D’Sa and Glenn Leyburn, what made you feel like you were in the right hands, for a story like this? NEESON: I’d never worked with a husband and wife directing team before, other than Joel and Ethan Coen. They’re two brothers. So, this was a first for me. Glenn was very much the technical guy, behind the camera, and Lisa was more engaged with us. The two of them have only made two films together, but they had a maturity and a vision. They were lovely to work with and very, very easy to work with. And they quickly got Lesley and my style of working, for want of a better word. I don’t know what I mean by style, but we had no egos. Egos were left at the front door, in the mornings, at the hotel. We were there to serve the script and serve the directors, and that’s what we did. Your directors have previously talked about how, the more that they stripped things back to the essential elements, the more power they felt the story had. As actors, does it feel empowering to strip all of that away? Does it make you feel more naked without anything to hide behind, or does it feel like it gives more to the story? NEESON: There’s an expression that less is more. It always goes back to the script. It really does. If it ain’t on the page, it ain’t on the stage, the saying goes. It was a powerful, beautiful, touching script with a lot of wit and humor. It was based on the writer and his wife, who went through something similar, for a year to a year and a half. I know that Owen had to be coaxed, for a period of time, to write the piece, which is understandable, but he did. I’ve made 63 or 64 movies now, and it’s probably one of the better scripts that I’ve read. What’s next for both of you? Do you know what you’re going to be working on next, or are you working on something now? NEESON: I’m doing a film, at the moment, up in Winnipeg, called The Ice Road, which is inspired by the old French classic film The Wages of Fear, that was made in the ‘50s. So, last week, it was 34 degrees Centigrade and I was fighting a guy on Lake Winnipeg. From the sublime to the ridiculous. I’m a quarter way through that. I have a few more weeks to go. What’s it like to switch gears like that? Is it fun to do something dramatic, heartfelt and emotional like Ordinary Love, and then go off and fight some guy on a lake in freezing weather? NEESON: Absolutely, it’s fun and they’re paying me a fortune. MANVILLE: Conversely, I’m working at the National Theatre, and not being paid very much. NEESON: Lesley’s doing a play that’s three and a half to four hours long, and apparently does not draw breath, from when the group goes up. I’m filled with admiration and cannot wait to see it, when I wrap in Winnipeg. Lesley, what is the play that you’re doing, and what made you want to dedicate yourself to that, right now? MANVILLE: I’m a glutton for a play. It’s almost like the harder and the more challenging it looks, the more I seem to like it, but that’s the nature of me, I guess. The play is called The Visit, and it’s Tony Kushner’s adaptation of a play written in the ‘50s by Friedrich Dürrenmatt. In a nutshell, it’s about the world’s wealthiest woman, who’s come back to the town where she was born and ejected from, as a pregnant teenager, and wronged, and she comes back to seek revenge. It’s good. Ordinary Love is now playing in theaters.

Strange decision to release this just before Christmas, but is very absorbing. The relationship described is convincing and the emotions as the cancer theme develops, raw and realistic. The two leads are excellent, but this is a Lesley Manville's film, I would say. She should get nominated for something. It is hard to think of a major actress with a wider range. Youre such a well seasoned reader and Im so glad youre doing the book club monthly now. I read Normal People and I loved it there wasnt much of a plot really but I get what you said about it being VERY relatable. Cant wait to read the color purple especially since I heard they are remaking the movie. Like the movie on Friday evening at cinema, after hard working week, nice to escape with something simple and touching. Liam Nesson is best in any role he plays.

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