A mostly gentle social satire on care for the elderly, but with some distinctly adult themes. Two very different men run a unique retirement home, but their differences threaten to interfere with its orderliness.
Themes of alienation, senility, dementia, confusion and repetition are explored, with running jokes about the number of times characters have played out the same scene. The calm routines of the home are contrasted well with the real world outside, particularly a revue bar and a family home, but the retirement home and its many hectares are an oasis with a pace of their own. A sub-plot about compulsory purchase is an irrelevance and can be ignored.
Some of the older characters fall into stereotypes, but with a cast this size it is inevitable. It is to the film's credit that we are able to recognise so many. Suspension of disbelief is shared between audience and cast, as the residents are both aware of the falsity and absorbed in it, memorising speeches, performing opera and dance.
The climactic scene builds nicely, accelerating to a conclusion we can see coming but do nothing about. And we care; we know it is absurd, but we care about the characters.
The short, post-climax scene is necessary to round things off but no more than that. There is no real resolution beyond the reconnection if a child with a parent, and even a cheeky reminder of a mystery character whose role was never quite explained. Watch to the credits for insight into the title.
Themes of alienation, senility, dementia, confusion and repetition are explored, with running jokes about the number of times characters have played out the same scene. The calm routines of the home are contrasted well with the real world outside, particularly a revue bar and a family home, but the retirement home and its many hectares are an oasis with a pace of their own. A sub-plot about compulsory purchase is an irrelevance and can be ignored.
Some of the older characters fall into stereotypes, but with a cast this size it is inevitable. It is to the film's credit that we are able to recognise so many. Suspension of disbelief is shared between audience and cast, as the residents are both aware of the falsity and absorbed in it, memorising speeches, performing opera and dance.
The climactic scene builds nicely, accelerating to a conclusion we can see coming but do nothing about. And we care; we know it is absurd, but we care about the characters.
The short, post-climax scene is necessary to round things off but no more than that. There is no real resolution beyond the reconnection if a child with a parent, and even a cheeky reminder of a mystery character whose role was never quite explained. Watch to the credits for insight into the title.
