I watched ‘The Lady in the Van’ nearly three years ago when staying with my father. I thought it extremely well done, and eventually added it to my wishlist a few months ago, thinking my husband would enjoy it, and that I would like seeing it again. I was given it for Christmas, and we watched it last night.
While I remembered the overall story - an elderly woman living out of a van comes to stay in the driveway belonging to a writer, in the 1960s - I had forgotten most of the detail. My main reason for wanting to see it again, and share it, was the brilliance of Maggie Smith as the elderly Miss Shepherd.
The make-up artistes were also excellent; at the start of the film we see the ‘lady’ dressed fairly smartly, probably no more than about fifty. When we get to know her, parking in different places in a suburban London street, she is in her early sixties, and quite scruffy. By the time the film ends, she is almost eighty, and could pass for ninety or more.
It’s a character-based film, based on a true story written by Alan Bennett himself after Miss Shepherd dies. Or rather, on a ‘mostly-true’ story, as it becomes plain in the film that some poetic license has been taken. There’s a clever plot device meaning that there are two Alan Bennetts (ably played by Alex Jennings): one who lives life, and the other who sits at his typewriter, writing. They have a lot of interaction and dialogue, and one of the ‘extra’ features explains how this apparent doubling is done.
It’s not a film that would appear to have a lot of special visual effects (other than a somewhat surreal final scene) but as one of the graphics staff explains, just having two apparently natural instances of the same person was remarkably complex and painstaking to create.
I probably enjoyed this more the second time around, aware of the story and inevitable outcome, also aware of the underlying tensions in Bennet’s life: his own lifestyle was not something generally accepted at the time. I could also appreciate more the tension he felt between trying to care for his elderly - and increasingly confused - mother, while also fending off the feisty, often rude Miss Shepherd.
The acting is excellent, the pace just right, the locations authentic. It helped, I'm sure, that the crew were able to film in the actual house and front yard where the action happened. The way that Miss Shepherd's past life unfolds slowly - almost reluctantly at times - is beautifully and sensitively done.
We watched all the extras - none of them are particularly long and we both like seeing a few insights from directors and cast members. The real Alan Bennett, who was very involved in the script, gives insights too - in particular how much he appreciated Alex Jennings’ portrayal of him, originally in the theatre production based on his book. If he and Maggie Smith not been available or willing to make the film, it would not have gone ahead.
There are one or two instances of strong language, but they’re not gratuitous. There are strong hints of a violent incident, and also implications about Alan Bennett’s orientation and lifestyle, but nothing that would be considered explicit. The rating in the UK is 12A and in the US PG-13, and that seems about right to me. It wouldn’t be of much interest to anyone younger anyway.
Definitely recommended if you want something a bit different and like ‘mostly true’ stories.
Review copyright 2019 Sue's DVD Reviews
While I remembered the overall story - an elderly woman living out of a van comes to stay in the driveway belonging to a writer, in the 1960s - I had forgotten most of the detail. My main reason for wanting to see it again, and share it, was the brilliance of Maggie Smith as the elderly Miss Shepherd.
The make-up artistes were also excellent; at the start of the film we see the ‘lady’ dressed fairly smartly, probably no more than about fifty. When we get to know her, parking in different places in a suburban London street, she is in her early sixties, and quite scruffy. By the time the film ends, she is almost eighty, and could pass for ninety or more.
It’s a character-based film, based on a true story written by Alan Bennett himself after Miss Shepherd dies. Or rather, on a ‘mostly-true’ story, as it becomes plain in the film that some poetic license has been taken. There’s a clever plot device meaning that there are two Alan Bennetts (ably played by Alex Jennings): one who lives life, and the other who sits at his typewriter, writing. They have a lot of interaction and dialogue, and one of the ‘extra’ features explains how this apparent doubling is done.
It’s not a film that would appear to have a lot of special visual effects (other than a somewhat surreal final scene) but as one of the graphics staff explains, just having two apparently natural instances of the same person was remarkably complex and painstaking to create.
I probably enjoyed this more the second time around, aware of the story and inevitable outcome, also aware of the underlying tensions in Bennet’s life: his own lifestyle was not something generally accepted at the time. I could also appreciate more the tension he felt between trying to care for his elderly - and increasingly confused - mother, while also fending off the feisty, often rude Miss Shepherd.
The acting is excellent, the pace just right, the locations authentic. It helped, I'm sure, that the crew were able to film in the actual house and front yard where the action happened. The way that Miss Shepherd's past life unfolds slowly - almost reluctantly at times - is beautifully and sensitively done.
We watched all the extras - none of them are particularly long and we both like seeing a few insights from directors and cast members. The real Alan Bennett, who was very involved in the script, gives insights too - in particular how much he appreciated Alex Jennings’ portrayal of him, originally in the theatre production based on his book. If he and Maggie Smith not been available or willing to make the film, it would not have gone ahead.
There are one or two instances of strong language, but they’re not gratuitous. There are strong hints of a violent incident, and also implications about Alan Bennett’s orientation and lifestyle, but nothing that would be considered explicit. The rating in the UK is 12A and in the US PG-13, and that seems about right to me. It wouldn’t be of much interest to anyone younger anyway.
Definitely recommended if you want something a bit different and like ‘mostly true’ stories.
Review copyright 2019 Sue's DVD Reviews
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