Rating: 
Summary: A War of Words
Review: A MERRY WAR is, upon limited thought, one of the most inappropriate titles in recent history. But, the film is a pleasant, quaint one with a couple nice performances. It plays like a an extremely light MERCHANT/IVORY film and so it is appropriate that the stunning HELENA BONHAM CARTER (Room With a View, Planet of the Apes) and RICHARD E GRANT (The Player) give such great performances. The scene where they get slightly drunk together is rather clever. But, this shold never be considered a 'comedy' by the modern definition. It focuses on a struggling writer as he tries to find his place in society. And in his quest for the upper class, he finds and embraces the lowest class. The nice widescreen picture is well transferred and the surprisingly large musical score by Mike Batt sonds great.
Rating:
Summary: A War of Words
Review: A MERRY WAR is, upon limited thought, one of the most inappropriate titles in recent history. But, the film is a pleasant, quaint one with a couple nice performances. It plays like a an extremely light MERCHANT/IVORY film and so it is appropriate that the stunning HELENA BONHAM CARTER (Room With a View, Planet of the Apes) and RICHARD E GRANT (The Player) give such great performances. The scene where they get slightly drunk together is rather clever. But, this shold never be considered a 'comedy' by the modern definition. It focuses on a struggling writer as he tries to find his place in society. And in his quest for the upper class, he finds and embraces the lowest class. The nice widescreen picture is well transferred and the surprisingly large musical score by Mike Batt sonds great.
Rating: 
Summary: Would George Orwell have written a happy ending?
Review: Although I enjoyed much of what Mr. Orwell said in this movie, i.e., the fight between the artist and philistines, I think him ending up in the suburbs with the aphisdistra is out of line, but then of course, he had Ms. Bonham-Carter. That should ease some of the pain.
Rating:
Summary: Unjustly neglected small gem of a film......
Review: Because wit and charm are in short supply these days, both in the culture at large and in film, "A Merry War" stands as an important piece of work. Literate, humorous, and bitingly satirical, the film also gives us Helena Bonham Carter and Richard E. Grant as two rich, fascinating characters who are worth spending time with. The film is based on a story by George Orwell and like "1984," the story covers conformity and the need for the human spirit to triumph over mindless commercialism and statism.
Rating:
Summary: Unjustly neglected small gem of a film......
Review: Because wit and charm are in short supply these days, both in the culture at large and in film, "A Merry War" stands as an important piece of work. Literate, humorous, and bitingly satirical, the film also gives us Helena Bonham Carter and Richard E. Grant as two rich, fascinating characters who are worth spending time with. The film is based on a story by George Orwell and like "1984," the story covers conformity and the need for the human spirit to triumph over mindless commercialism and statism.
Rating: 
Summary: "imitation", the sincerest form of flattery:
Review: Chop Off the trailers! And Bring on The RIG! This kiddy's a viddie We dig-dig, DIG! Notes: The poem exclaims we fast forward through this video's trailers, a substance of sometimes dubiously worthy advertisement, excepting Junior's Groove, in which we can delightedly pause for fulfilling enticement! "And Bring on the Rig',or, "let's get down to business", spoken with rolling 'r's sometimes subsistence to orated speech, flourished with Scottish influence particularly if by a prominent figure of letters reciting before an assembled hall to musically enhance the cadence, tambour and sostengonos of prose. Slang metaphors occlude the final two lines in a wonderful trick, surprising us when we "dig" into the often self referential, nonstandard grammatical highlighting of the author's intentions trying to tell us something precisely, the way they felt and meant the words to carry forth true meaning. We are to overlook the noun "viddie" quite obviously-- true slang borne of the technical term video--and delve into the peculiar introduction of the word "kiddy", properly a babe or a child. The double digging entendre is obviated by the awkward hyphenated supplanting of the comma; it implies that we read this reference to youth as both "kid" and "kidding", respectively America's love for George Orwell and the comedic scandal omnipresent in the film. Most remarkably is that the film builds toward the building of new lives by the conception of a child and redemption of wayward poet Comstock. Thus pure poetry and purest beauty adds a third level to the meaning, the third "DIG!"...a magic number... "3 6 9...12 15 18...21 24 27 30... A man and a woman had a little baby..." --School House Rock. To this wink's last final reach; The British! What lashing speech! Supply your own notes for ^those^ last two lines.
Rating:
Summary: "imitation", the sincerest form of flattery:
Review: Chop Off the trailers! And Bring on The RIG! This kiddy's a viddie We dig-dig, DIG! Notes: The poem exclaims we fast forward through this video's trailers, a substance of sometimes dubiously worthy advertisement, excepting Junior's Groove, in which we can delightedly pause for fulfilling enticement! "And Bring on the Rig',or, "let's get down to business", spoken with rolling 'r's sometimes subsistence to orated speech, flourished with Scottish influence particularly if by a prominent figure of letters reciting before an assembled hall to musically enhance the cadence, tambour and sostengonos of prose. Slang metaphors occlude the final two lines in a wonderful trick, surprising us when we "dig" into the often self referential, nonstandard grammatical highlighting of the author's intentions trying to tell us something precisely, the way they felt and meant the words to carry forth true meaning. We are to overlook the noun "viddie" quite obviously-- true slang borne of the technical term video--and delve into the peculiar introduction of the word "kiddy", properly a babe or a child. The double digging entendre is obviated by the awkward hyphenated supplanting of the comma; it implies that we read this reference to youth as both "kid" and "kidding", respectively America's love for George Orwell and the comedic scandal omnipresent in the film. Most remarkably is that the film builds toward the building of new lives by the conception of a child and redemption of wayward poet Comstock. Thus pure poetry and purest beauty adds a third level to the meaning, the third "DIG!"...a magic number... "3 6 9...12 15 18...21 24 27 30... A man and a woman had a little baby..." --School House Rock. To this wink's last final reach; The British! What lashing speech! Supply your own notes for ^those^ last two lines.
Rating:
Summary: If you loved Room with a View, Maurice, you'll love this.
Review: If you loved Room with a View, Maurice, Wilde, Total Eclipse, etc., you'll love this (although it's not about a gay dude, and most of those above mentioned movies are). It is about man who tries to be a pure artist, but finds he can't give up worldly distractions from his work. Very funny, very sad. Michele
Rating:
Summary: "You promised me a Thursday afternoon of prolonged ecstasy"
Review: In London in the 1930s, Gordon Comstock (Richard Grant) is a copywriter for the New Albion advertising company, but he's also a poet with one book of published poetry. Comstock would much rather be a poet than a copywriter, so when he's offered a pay increase, he hands in his notice on the spot and announces that he's "leaving to write poetry." He plans to devote himself to his poetry now that he's a "free man." Fiancee and co-worker Rosemary (Helen Bonham Carter) sticks by Comstock through adversity, but there are some painful lessons in store for the poet. The film "A Merry War" is a faithful and delightful adaptation of George Orwell's autobiographical book "Keep the Aspidistras Flying." Orwell's socialist beliefs are never far from this film. Comstock--who lacks a university education--longs for the privilege and leisure of the upper classes while he also envies and despises them. The Aspidistra is, Comstock comes to realise, a sign of middle class conformity and respectability. Being a member of the middle classes is a precarious and precious thing, and Comstock achieves it solely by his labor at the advertising company. Once he gives up his job, he also gives up his foothold into the middle class. This action sends Comstock on a downward spiral into society. When Comstock lives among the poverty of Lambeth where "even the tomcats walk in twos" he experiences freedom from the moral expectations of the middle class. Unfortunately, this has unexpected consequences. The success of this film is due to the clever script and the tremendous acting delivered by Bonham Carter and Richard Grant. Helen Bonham Carter has a very respectable history of these sort of period dramas, and she's simply marvelous here as the long-suffering Rosemary. Richard Grant is a truly gifted actor who remains sadly underrated. He does an outstanding job as Comstock--the poet who longs to be respected for his craft. A very talented supporting cast provide many wonderful characters--including--two vastly different landladies and Hermione--the upper-class lover of Comstock's publisher. While the film includes many brilliantly funny scenes and lines, there's a serious undercurrent here. "A Merry War" explores the idea of abandoning all to go off in search of the dream of being a poet. In the wickedly amusing tale of Comstock's misadventures, we have the options for humanity in a nutshell--displacedhuman.
Rating:
Summary: Sadly Neglected Small Gem from Lovely Bonahm Carter
Review: Originally called "Keep the Aspidistra Flying," which is also the title of George Orwell's 1936 original novel, "A Merry War" showcases the following two charming things: Richard E Grant as a poet by profession (so he thinks) and Helena Bonham Carter as a dedicated lover. Those fans of them, who are dismayed to see them in Hollywood made products like "Hudson Hawk" or the remake "The Planet of Apes" respectively would be infinitely delighted to see them shining in this charming little drama. And you will see cute Ms. Bonham Carter wearing glasses (a rare thing) and look so brilliant. No more ape make-up, please. The story, which is semi-autobiographical of Eric Arthur Blair (known as George Orwell), follows the hero Gordon Comstock, who suddenly leaves the office "New Albion" an ad agency in order to be a poet and a free man. No more slaves to money, he vows, but naturally, as we all know from the beginning, he starts to stumble gradually into the financial troubles. His friends -- rich publisher Ravelston, his sister Julia, and most of all his love and former co-worker and illustrator Rosemary -- try to support him and persuade him into the original course of life, "respectable" life of copywriter, but Gordon stubbornly refuses. Gordon goes -- How can they say such things when his first book of poems "Mice" was praised by The Times Literary Supplement" with the comment "exceptional promise"? But promose was just promise, and he slowly realizes that his happiness lies only in the life with Rosemary, who is always faithful, caring, and around him. The film is perfectly crafted around the leading characters, and they are played by those splendid actors. Grant utters his witty, acid remarks as if spitting out, turning his wickedly satrical lines into instant charm of language, and though sometimes his character is shown in a very negative light, Grant manages to maintain our sympathy with Gordon, who is obviously no talent. Like Johnny Depp in "Ed Wood" we know he is not going to make it. Still, we care about him and his too naive, crazy, sensitive side of Gordon. Also Helena Bonham Carter is a pure delight to watch, and without familiar costume of Victorian or Edwardian middle-class society (her clothes are here very ordinary ones) she establishes with a slight comic touch a lovely character of Rosemary whom every man with level-headed brain would crave for. Unfortunately, Gordon takes a long time to see that. The director Robert Bierman, like he did in excellent adaptation of Wilkie Collins' "The Moonstone," shows pretty faithful version of the original book, which contains many satires on British middle-class mentality. "Aspidistra" of the title is used in the book as a symbol of middle-class respectability, but the film wisely avoids going deeply in for utilizing the motif. Instead, the film set its forcus upon the romance side of the book, and turned out a great success. Though you many feel the film lacks in more substance, or too light, little seen "The Merry War" deserves to be seen more, because of the charm of the two leads exude. If nothing more it can offer to you, the delightful couple only would justify your paying money for the enjoyable 100 minutes. The film's newer title phrase "A Merry War" appears in the middle of the original book when Gordon & Rosemary go hiking in Chater 6, which I quote: "Each laughed with delight at the other's absurdities. There was a merry war between them. Even as they disputed, arm in arm, they pressed their bodies delightfully together." Very appropriate to describe the relations of this lovely couple, as you will see in the film.
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