My Life So Far (1999)

Best movie of this year hands down!

A lot of fun.

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

I picked 1999's "My Life So Far" to watch because the DVD cover made it look like something light – maybe a romcom, I wasn't sure – and after almost an hour went by I found myself thinking, "What the fokk is this movie about?!" This is perhaps why one reviewer described it as "not plot-driven." Thankfully, I was able to catch a grip with the final third of the film where the various story elements came together. This is basically a coming-of-age tale of a boy, Fraser, who's around 10-11 years-old in 1920's Scotland. His family lives on one of those huge country manors with a strong matriarch, Gammy (Rosemary Harris), and a household staff. Elderly Uncle Morris (Malcolm McDowell) visits with his young French fiancé, Heloise (Irène Jacob), who incites the fascination of both Fraser and his dad, Edward (Colin Firth). Mary Elizabeth Mastrantonio plays Edward's wife.The film immediately brings to mind 1993's excellent "The Secret Garden" due to the fact that both take place on British country estates in the early 1900s, albeit the former in Scotland and the latter in England. While "The Secret Garden" is the superior film, "My Life So Far" won me over despite my initial apprehension. Fraser's coming-of-age parallels his father's maturing. Edward is a likable inventor who runs the sphagnum moss business. He's fun, likable and preaches at his church, but he's resistant to change and refers to jazz as the devil's music. His spirituality is tested by the arrival of Heloise and is found wanting; worse, he can't hide his childish infatuation from his wife.It wasn't until AFTER watching "My Life So Far" that I realized how smart it is. It makes its many points simply through showing the day-to-day life of the Pettigrew family one season in 1927. For instance, although Edward is right about the brilliance of Beethoven, he's wrong about jazz. And although his good side shines brightly, his glaring hypocrisy cannot be condoned. This isn't just testimony to the power of a beautiful woman; it's testimony to the necessity of character and faithfulness. These are just a couple examples and I expect to raise my rating the next time I view it because this seems like one of those films that gets better on the second (and third and fourth) watch.The film runs 98 minutes and was shot in Argyll and Bute, Scotland, UK.GRADE: B ***SPOILER ALERT*** Do not read further unless you've seen the film.Did Edward have "carnal knowledge" of Heloise? No. Edward comes on to Heloise in the moss loft (or whatever) and she clearly rejects him, albeit respectfully. Later, during the big blow-up, he informs his brother-in-law, Morris, that he had sex with her because Morris was his rival for the estate, but it's A LIE. We know this because Heloise plainly declined his advances. So why did Edward lie? Evidently to stick-it-to his rival and cause the ensuing marriage problems. It was also his way of getting back at Heloise for (gently) rejected him. Bear in mind that on no occasion was Heloise guilty of improper conduct; she's almost godly and even rebukes Edward's hypocrisy at the dinner table, albeit subtly. Edward's lie was a very ignoble thing to do and it made me lose respect for him, but it was the result of his pent-up frustrations. Thankfully, he later humbly repents, to which his wife forgives and they go on to blissful matrimony.I hope he apologized to Morris and, especially, Heloise as well.

From the bonnie banks of Loch Fyne, Hugh Hudson brings us a far cry from his `Chariots of Fire' to serve up an endearing, even charming, little piece, not lacking in comedy, purportedly a biography of the young Fraser Pettigrew. The story is a disconnected series of episodes in the young boy's life as seen by him as he clambers through life in a pool of innocence.Some good interpretations, especially the boy and his father, Colin Firth, and some excellent scenes with the servants. Expected more from Ms. Mastrantonio, but got it from Irène Jacob.Otherwise, the film meanders through from scene to scene, gloriously photographed in the beautiful Scottish countryside below Stub an Eas (732m) right at the top end of Loch Fyne.The film is simply that: an entertaining `divertimento' without much to suggest greater ideas; a kind of family portrait of yesteryear, of times remembered as romantic; but nothing serious to go on. For that, see `Gosford Park' (qv).The `divertimento' impression is heightened not so much by the original music, but by the inclusion of pieces by Beethoven on the piano, and `The Swan' by Camille Saint-Saëns, not too brilliantly played I should add: which, is just the correct thing, as amateurs at home are hardly likely to produce awesome professional playing.Watch it with this attitude and you will be amused or entertained, but without expecting anything more from it. The best scene is at the dinner table, well into the film...........

I loved this period piece set in Scotland during the 40's. It is a coming of age story of Fraser Pettigrew.Most of the story was told through Fraser's precocious eyes. Both he, and his father Edward, develop an infatuation with Malcolm McDowell's "exotic child bride"(Irene Jacobs). Fraser and his aunt share a sweet friendship;she turns him onto jazz, Louie Armstrong and the like.His father Edward's (Colin Firth) love is unrequited and misplaced. He is a sympathetic character in the story until he develops this wandering eye. He is a hypocrite in that he wants to be pious and he wants & takes his sister-in-law and becomes the devil he warns Fraser of. Edward Pettigrew's foolish fantasy is revealed at Gamma's funeral for all to see. His only redemption is the true love of Moira played by Mary Elizabeth Mastrianni, who forgives him for all his foibles.

A wonderful example of what happens when a movie has been infused with a drastically insufficient supply of dramatic tension. The characters wander with apparent aimlessness through most of this visually lovely film, commenting on nothing in particular that we care about. None of the actors gives the slightest indication of being involved in the non-existent story; the child actors are particularly bland and read their lines as if from a cue card. Events transpire, but because of the dearth of tension, the film leaves the overwhelming impression that *nothing has happened.* And, indeed, nothing of importance has.