To admirers of Anthony Hopkins and the 'less is more' style of thoughtful, unshowy acting, there are two films free to watch on UA-cam. 'Across the Lake' has Mr Hopkins taking the part of Donald Campbell who died when attempting to break the world water speed record on Coniston Water. There's a badly-mangled uploading of 'The Remains of the Day' in which Sir Anthony plays the part of the repressed and rather timid butler who never shows his love for the housekeeper, played by Emma Thompson. He excels at showing deep feeling (fear, regret, anger) in his face without saying or doing anything much at all - maybe it's that glint in the eyes and the faraway stare.
In my opinion Remains of the Day was and still is the best example of a Merchant Ivory Production, for Hopkins shinning performance alone, but it had become a tired genre of British cinema, given a new lease of life and audience in 2010 with the return of a high gloss budget and the coaxed charm of Julian Fellow's Downton Abbey, all be it for the small screen.
Sir Anthony is without doubt one of our finest actors. The work he puts in to make it appear so spontaneous is extraordinary.
Always a joy to watch.
What a luxurious sofa ! Great interview and so sad Mel Smith died so early
To admirers of Anthony Hopkins and the 'less is more' style of thoughtful, unshowy acting, there are two films free to watch on UA-cam. 'Across the Lake' has Mr Hopkins taking the part of Donald Campbell who died when attempting to break the world water speed record on Coniston Water. There's a badly-mangled uploading of 'The Remains of the Day' in which Sir Anthony plays the part of the repressed and rather timid butler who never shows his love for the housekeeper, played by Emma Thompson. He excels at showing deep feeling (fear, regret, anger) in his face without saying or doing anything much at all - maybe it's that glint in the eyes and the faraway stare.
In my opinion Remains of the Day was and still is the best example of a Merchant Ivory Production, for Hopkins shinning performance alone, but it had become a tired genre of British cinema, given a new lease of life and audience in 2010 with the return of a high gloss budget and the coaxed charm of Julian Fellow's Downton Abbey, all be it for the small screen.