Touches You

Absolutely the worst movie.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Sparkle reminds me of a feeling I've had many times before. I had locked this feeling away in a drawer in a secret office somewhere. By watching this romcom, i was forced to enter that underground bunker, and nervously open the dusty drawer. I am glad that this metaphorical event happened, because it has made me realise that, honestly, the feeling is not that scary. Sure, it was a little uncomfortable at first, but refreshing to finally release what had been repressed for so long. The film brings us a stream of characters, in a periodic, cyclical fashion. Sam Sparkes (Shaun Evans) is our young male protagonist, who abandons everything to move to London, and obtain menial work with the brilliantly bashful Vince (Bob Hoskins). Sam's mother Jill (Lesley Manville), doesn't want to be left behind, so she joins him in London. Hoskins is the perfect choice to play Vince, who sheepishly pines for Jill in a manner which is first just creepy, yet becomes adorable. He is a gentleman, but with urges which drive him to act a little desperate, for instance the moment when he sees Jill bending over outside his window, and chooses to take a photograph! Sam has a brief conversation early on with a fellow waiter, the significance of which is apparent later. The waiter explains jokingly that he slept his way into his job. Sam goes on to meet and charm the much older Sheila (Stockard Channing), whom he not only sleeps with, but indeed, gains employment with. So far, so indie, you might say. A strong comic element hits us in the face in the opening scene, and we are allowed to think that this is a film which is going to be downright silly throughout. But the jokes are amusing, and we soon realise that despite the comedy, we are on tentative ground, because at any moment we can be surprised by a sudden dive into emotional upheaval. So we can certainly call this a romcom without doubt. However, I am left feeling that there is something else to this movie. At a party held by Sheila, a brazen young vixen called Kate (Amanda Ryan) entrances Sam and they have a 'moment'. This of course leads to an affair. Nothing particularly different yet. However, Kate has some secret information regarding her identity, which makes us realise that Sam is not a mere scallywag cheat, but a fully fledged scoundrel. Because when he discovers this secret, he is devastated. But he does not seem concerned for either Kate's nor Sheila's feelings, merely that he is likely to be found out soon. So for the first half an hour, Sam is a cheeky, charming kid, having a great time, and delightfully seducing an older woman to have a mature relationship. Then he falls in love with Kate, and we can't exactly blame him for that. But the way he acts from then on is just a complete switch in personality, so that for me personally I really start to hate him. And this is where my own personal bunker metaphor comes in: Sam represents a part of me that I have previously refused to recognise. None of his specific actions reflect any of mine, I must add. But his selfish tendencies, and refusal to recognise the emotional consequences he may be causing, certainly do remind me of myself in some ways. And that's the main thing I like about this film – apart from the extremely alluring Amanda Ryan as Kate, I like the fact that the main character can be an absolute bastard to the point that we hate him, and yet the film finishes with the problems resolved so that we forgive him, because she does. This means I may be forgiven? Perhaps not, but Sparkle has given me a therapeutic fantasy that I will be. And I enjoyed it.

I loved this film, managed to see it twice even though it is on very limited release in the UK (why??) Shaun Evans as Sam is totally believable as the charming ingenue who sleeps with the 'boss' in order to get a job. Amanda Ryan as Kate is less convincing and seems a little superficial (even though she tells Sam at one point that he is the one who is 'shallow'). Bob Hoskins and Lesley Manville provide the subplot superbly well, with a lot of humour. Anthony Head camps up his fun cameo as the gay lover. For me though it was Stockard Channing who stole the show - brilliant as Sheila, the hardened PR executive who, despite herself, finds herself falling in love with her young lover. The scene where Sam was finishing their affair, and then the scene at her brother's when she discovers who Sam is now sleeping with were both superb, with Stockard showing everything in her facial expressions and eyes. However, I did feel that at the end there was a scene missing - when everyone else was linked together happily, I felt there should have been a brief shot of Sheila - alone in her luxurious but unlived-in apartment, maybe reflecting on the loneliness of her life. I wish this film would come out on DVD, or at least be shown on TV so that I could record it, as I could definitely watch it more times.

It's a romantic comedy, but it's bland as hell as it just lacks story direction. There's many narrative problems -- for a start, Kate is presented as a strong, spiky lady at first (she's campaigning for the release of a wrongly imprisoned person as a sub plot), but then she's accepting of the main character sleeping with his mum and lying about it. Why? Because he gets her a toy dolphin. Not only is that pretty insulting to this films female audience, it's insulting to anybody who's ever had a meaningful relationship. For a romantic comedy to have those flaws is absolutely fatal, and it won't find a commercial audience because of that.Sam's character deserves a punch throughout the entire film - the audience won't like him due to his character journey (he tells his girlfriend he loves her, whilst lying about shagging her _mum_, in the space of 30 seconds). He goes from idiot, to idiot, in 90 minutes. We're defining lack of character journey in a motion picture, here.So, the male and female lead characters are idiots.Amusing, Bob Hoskins turns up near the end to smack Sam about - but the audience I saw it with laughed at the scene. I would have found it far more entertaining if Hoskins had beat him to a bloody pulp.Basically, if older men wrote and directed a romantic comedy, this would be what happens. And it is. Kate goes from being interesting to being a complete idiot of a character within the space of an hour, and it's a real shame. Kate's the worst representation of a protester I've seen in a movie pretty much ever, also, and it's something I found fairly insulting.Performance wise, Amanda Ryan is mostly great, Tony Head absolutely nails his part and Bob Hoskins is Bob Hoskins.The overall opinion I had from this is that they didn't want to another Love Actually, but at the same time they didn't have the balls to make anything meaningful in any other sense. Relationships are complicated and messy, people can be strong, individual and interesting; this is not that representation of life, love or people.

I sometimes get the feeling that the only reason people make films like this one is so that people like me, who like to go to the cinema at least once a week, will have an alternative to the cgi/slasher/American pie formulaic garbage that fuels the multiplexes. In other words fairly pleasant, fairly harmless movies, like Venus, Shameless, Junebug, Waitress etc that fill a gap but, like Chinese food, leave you craving something more substantial within the hour. Hunter and Hunsinger scored a mild success with Lawless Heart and return to the same general area and clearly figure that if outrageous coincidence was good enough for Shakespeare it's good enough for them thus we get a chain of events in which Bob Hoskins, on the strength of an meeting Shaun Eveans for an hour or two and taking a shine to his mother, Lesley Manville, offers Evans the use of a flat in London which leads to Evans finding work as a waiter and catching the eye of PR honcho Stockard Channing with whom he is soon doubling as a gigolo where he in turn catches the eye of a girl his own age who, surprise, surprise, turns out to be Channing's daughter; Channing has never disclosed the name of the father and as Dorothy Parker said you could have knocked me down with a fender when he is finally revealed as Hoskins' brother. With story lines like these you need decent thesping and on the whole that's what we get with the glaring exception of leading man Shaun Evans compared to whom an amoeba with Learning Difficulties would eclipse Errol Flynn in both charm and charisma. Luckily Evans is surrounded by Manville, Hoskins, Anthony Head and Amanda Ryan all of whom help to make the time pass pleasantly enough.