“Aberto de Aberto”: Film Review

Maurice Flitcroft may not have unequivocally endorsed George Carlin’s claim that “golf is an arrogant, elite game,” but, in his goofy way, his exploits in the late 1970s proved it. A shipbuilding crane operator from the north of England, he toured one of the snobbiest areas in the sporting world, the British Open barricades, with great ingenuity and a little more laughter, moving like a professional golfer when he barely knew. How to play. He earned a spot in the annals of the prestigious championship with the worst score in its history, 121. After the initial reaction raised eyebrows and the WTF’s laughter subsided, Fleetcroff’s fearless inability to attack the Faroe Islands struck a chord among the aliens. . In the ranking of clubs, he has already conquered the imagination of sports page editors.

how do you say open ghostFleetcroft’s face-to-face heroism is inseparable from the family’s love story. It’s a mix that doesn’t always find green, but it’s never far away. It’s gratifying to see the film’s heartwarming emotion and spiritual love for its characters. In a pair of British actors, Mark Rylans and Sally Hawkins, in a strange but true story about breaking the rules of the British working class, ghosts to remember Duke (Also a Sony Pictures Classics release), though this recent Jim Broadbent-Helen Mirren has heavier power. Since adapting Simon Farnab’s 2010 book, which he co-wrote with Scott Murray, director Craig Roberts has made an uneven but fascinating film that respects Flitcroft for its everyday reality and absurdity.

In the Helmer function above, Eternal beautyIn the role of Hawkins, a woman with schizophrenia, accepting herself was inseparable from her rebellion against the Convention. Roberts’ interest in this equation and the wider world of neurodiversity also comes through in the new film, Rylans’ mixture of candid transparency and brash cricket that only blocks wise and foolish brains.

When we first meet Morris, who has become a “legend,” his harmless eccentricity hints at his preference for the six sugars in his tea, a sweet flavor that matches the wonders of childhood. A key factor in Morris’s biography is revealed in the story of the capsule, which is unfolded in the original subtitles: Like many children in English cities during World War II, I was sent to a place where the bombing risk was not so big. . During his stay in Scotland, his son explored opportunities beyond the shipbuilding industry that dominated his hometown of Port Barrow-in Furnace, Cumbria, where all good boys were supposed to follow their parents in business.

But when the main action begins, Morris is in his late 40s and has been working at Vickers Shipbuilding for a long time. His dreams of a more creative life ceased before raising three children with Jean (Hawkins). The opportunity to reignite the fire of inspiration comes in the form of bad news, courtesy of eldest son Mike (Jake Davis), a man in a tie in the management phase of Vickers: the company is going to be nationalized, en masse. scale. Dismissal at the store. A woman of immense warmth and humility, played to perfection by Hawkins, who created the art form of positivity, Jeanne urges Morris to seize the moment: “Now it’s her turn,” she tells her husband.

After learning about the new wonders of console TV, Morris discovers his new calling while surfing the channels: he watches American golfer Tom Watson win his first British Open title. Triumph, popularity, awards and fresh air – a good way to get to Morris and a stroke of luck in the living room. This is his fate. With the steadfast support of Jean and her disco-enthusiastic teenage twins Jane and James (Christian Lisi and Jonah Lisi) and the outrage of Mike, concerned about his status, Morris tries to play in the 1976 Open. error registering as a child.

And when her painted form for the open qualifying competition heads to the organizers’ office, the assistant senses something odd, but her male superiors, led by Kate McKenzie, call themselves someone. A professional golfer, if they aren’t. At the same time, Morris learns the language of sports and buys all the equipment he can. “So bright, right?” Admire your newly acquired clubs. He adds a clay vest to his wardrobe, which he wears under his work clothes as a secret superhero costume.

At the Open Championship, Morris is quick to claim he is inadvertently insulting professionalism, tradition and fairness, leaving other players confused, while a sympathetic reporter (Ash Tandon) spreads a juicy story. Ipans’ uncharacteristic behavior as a McKenzie-owned walkie-talkie punctually is the sure counterpoint to the relentless optimism of Rylance’s channels, even after Morris realizes that “open” is not a straightforward description. Determined to keep this shameful crime a secret, McKenzie asks Morris to “quietly gather his belongings”. But word gets out and a PR feud breaks out between the two men, McKenzie intends to banish the hilarious culprit from every club in the UK.

Morris is cause for celebration in working-class pubs. He is funny among Mike’s co-workers. Developed in the years when Margaret Thatcher rose to the top of the political ranks and the Sex Pistols scandalized the nation, Morris Escalators offer a salt-of-the-earth version of the punk protest center. He is completely sincere and charmingly funny. The fact that he played the British Open in different ways, once using the name Arnold Palmter, is one of the joys of his history.

With strong players in the center, constant tension on the scoreboard is unnecessary. But the soundtrack’s upbeat tunes like “Build Me Up Buttercup,” “Nothing From Nothing” and “Ride Like the Wind,” the latter featuring the inevitable golf cart chase, dovetail perfectly with the film’s pleasant turmoil. Like the twins’ brilliant dance.

Showing that Morris is respected in the state, the final chapter victoriously weaves together the painting’s basic threads: his yearning for recognition in the world, his strained relationship with Mike, and Morris and Jean’s love story. His words of respect for his wife are wonderful, but it’s Hawkins’ gin that permeates them as the sequel achieves its meaningful sound.

This is one of the more subtle moments. open ghost, which otherwise carries the heart of its packed theater. Roberts’ approach is not entirely difficult, but it is obvious. However, he never obeys the Flitcrops and it is impossible not to inherit Morris and his false professionalism. Fifty years after his quest for golf fame, we’re faced with a confessional excess that can be used to knock down several great doors like this one.