and I see that according to the ad. is is to go on general release, which is wonderful, it may reach the far far southeast!

The recent blurbs on RV intrigue me about Colin's character: "Colin Firth, looking about 70, lounges around the edges of scenes as the gay cousin" Colin experiments with the more usual exprectations for him as a strong leading man Yes, I think this may be a Colin we've never seen before. ;-) Can't wait for your report, Ann. Thanks to all for giving us the latest. And for the older stuff too. Loved the Fever Pitch write-up, Renate. Lucky you, getting to see it on TV. No matter how often I've viewed one of his films, I'll always tune in when it's broadcast on television.

Happy Father's Day, Colin....

I see that according to the ad. (RV) is to go on general release, which is wonderful, it may reach the far far southeast! Actually, Ann, it's "nationwide release" (as was SLOW and MLSF), which can literally mean one theatre in London and one eleswhere! I think RV will get quite a lot of favourable publicity, but a very select release. Nothing wrong with that. All we get at our local multiplexes are the latest Hollywood movies, and rather crass Brit comedies, which appeal to the usual multiplex crowd. One thing puzzles me...why hasn't RV secured a US release? Eric Styles' first movie "Dreaming of Joseph Lees" was actually released in the US before the UK. RV has a far more stellar cast, and JA must still have a lot of popular support in the US. She's an icon! Doesn't it even get a limited release? Lots of controversy here about apparent "misrepresention" in "The Patriot", the new historical movie about the War of Independence, starring Mel Gibson. I remember reading about it and thinking there might have been opportunities for CF in the English roles. (Army officers,uniform, horses etc) But apparently the English are portrayed very unsympathetically! Better to stick to Mark Darcy! Other tidbits...Sam Mendes has apparently turned down offers by Tom Cruise and Brad Pitt to play at the Donmar, which is very fashionable at the moment. Ralph Fiennes is taking a lot of flak for his "Coriolanus"...there's a piece in the Telegraph today poking fun at him, and telling him to read his own reviews (he has said that he is indifferent to praise or blame)and lighten up. Our press is not kind. Sometmes a low-ish (but not too low!) profile is best!

"Misrepresentation"...sorry, can't spell!

Dreaming of Joseph Lees opened in the US just a month before the UK. It barely played here. Not even sure if it got out of NY/LA. I saw it locally at a filmfest. It made NO money; its reviews were tepid. Samantha Morton was wonderful, the cinematography was interesting, but the story was stupid. Bethan, while you may not go to the Odds & Ends topic, some of the these items have already been mentioned there or belong there. I would email you, but apparently you don't answer or check it.

Sorry, I must remember look at the Odds&Ends topic so that I don't repeat things. My personal e-mailing is, I admit, a mess...I have a family email address and two or three personal ones, and end up always being in a complete muddle. The address that I try to rememember to check is bethan54@yahoo.com

Not a very good review for RV at Popcorn UK, 2stars out of 5. oh dear, if only he would appear in a really big hit that has him as the leading man, another P&P but on the big screen.

Thanks, AnnW. Had checked there earlier today with no results. Not good comments about Colin. :-( Here's the review by Simon Wardell (2/5 stars) In the wake of 'Wilde' and 'An Ideal Husband', an adaptation of Noel Coward - the latter-day standard bearer for Oscar's brand of sophisticated drawing-room comedy - probably seemed like a good idea. Unfortunately, no amount of witty repartee or star performances can disguise how dated the whole exercise feels. Set in an English country house in the 1950s, the film kicks off with family heir Nigel (Edward Atterton) announcing his engagement to Jeanne Tripplehorn's fading Hollywood star, Miranda. This causes a few problems for his mother (Julie Andrews), not only when she discovers that her maid Moxie (fine work from Sophie Thompson) is Miranda's long-lost sister but also with the subsequent arrival of the actress's besotted former lover, film idol Don Lucas (William Baldwin). A series of mightily predictable entanglements and misunderstandings ensue, all wrapped up in Coward's acid but airy prose. There are some nice touches by director Eric Styles, who previously made the little-seen 'Dreaming Of Joseph Lees' - the entrance of Lucas coincides with the appearance of an escalating number of Girl Guides outside the estate gates, while Miranda's American accent slips tellingly into Cockney during one confrontation. However, the travails of the landed gentry, even if they are represented by the venerable Miss Julie, do not make for absorbing viewing. And Andrews and Colin Firth, as her Coward-esque nephew, obviously take the whole exercise so lightly that it's asking a bit much for the audience to care either.

Picking the NC was role was a risk for Colin as there is plenty of footage out there of NC. It was a risk, he took it. Now it is up to you AnnW to let us know how it really is when you see it at the premiere. We are in your hands. :-) Blockbuster Video has put their extra copies of MLSF on sale! I bought one for $10. I would like to thank my boys who nagged and insisted on my taking them to B to rent The Matrix. Synchronicity, yeah! I also rented 'Dreaming Of Joseph Lees' to check out Styles.

Moon, I shall like it whatever, but I shall try to be unbiased, anyway to quote someone I shall also be seeing "The Real Thing" and he looks even better in real life and looked so smart at the SIL Premiere. Will report tomorrow night if it is not too late.

A very good trailer of R.V. in the Independant Newspaper - United Kingdom. Go into enjoyment - then film. It last quite a long time and each of the seven Principal Players are in it.

And Andrews and Colin Firth, as her Coward-esque nephew, obviously take the whole exercise so lightly I thought that was how Coward was to be played....not he-a-v-y! all wrapped up in Coward's acid but airy prose. Sounds okay to me. Makes a change from expletive deleted. I'd just sit back and try to enjoy, Ann. It's certainly not going to appeal to everyone and it's very difficult to have a "hit" movie in the UK unless you appeal to that all-important 16-25 group.(They even write most of the reviews!) I think that actors in the UK just have to grit their teeth and plod on. Which is what they do. You can't please all of the people all of the time. BJD has all the ingredients for universal success though...and he is the leading man!

The RV site has its recorded interviews with the cast up. You can see and hear Colin answer 4 questions: 1) Tell us about your role 2) What's it like working with Julie Andrews? 3) Where does Peter's humour stem from? 4) Why do people still want to make films of Noel Coward's plays Listen to the last one carefully. He uses the words "witty, airy, and urbane" to describe the dialogue and talks about how they are "made to look easy but are not terribly easy" [or something to that effect] Go here for the interviews: http://www.relative-values.com/multimedia/castcrew/cf.html

Another uh-oh review of RV, this time from Screendaily, dated June 16, by Allan Hunter: A warm welcome for the big screen return of Julie Andrews is unlikely to translate into significant audience goodwill towards the creaky, time warp attractions of this 1950s Noel Coward adaptation. A flimsy romp through the hypocrisies of the post-War English class system, the basic material is badly dated and the workmanlike handling merely emphasises its plodding theatricality. UK distributor Momentum Pictures faces an uphill struggle to prevent this becoming another swift casualty of a merciless British market when it is released on June 23. Displaying a crisp comic talent, the ageless Andrews is every inch the star of the show as Felicity, the Countess Of Marshwood. Distressed by the news that her son is intent on an entirely unsuitable marriage to American movie queen Miranda Frayle (Tripplehorn), she prepares to welcome the couple to the family's vast estate in the English countryside. Matters are complicated by the sudden revelation that her loyal maid Moxie (Thompson) just happens to be Miranda's long lost sister. The plot thickens again with the arrival of Miranda's former lover Don Lucas (Baldwin), a boozy Hollywood star who still carries a torch. Beginning with a jaunty flourish and an energetic montage covering the Marshwood-Frayle romance, this soon settles into a much more mundane approach to the plot's mechanics and comic set pieces that makes little effort to render the material more accessible to a modern audience. Andrews may have the flair and experience to rise above it all but others are not so lucky with Fry offering an over familiar reading of the Cockney butler and Firth left simpering on the sidelines as the campy, mischievous nephew.

Film Unlimited (Guardian and Observer) also has the RV trailer link up [same as the one AnneH posted used by The Independent] This trailer from mymovies.net is better as is Flash-based vs. streaming video on Real Player. The link from Film Unlimited will give you a bigger picture, as is not constrained by frames: http://www.mymovies.net/movie_st/alliance/relative_values/mid/frdefault.htm

Thanks Karen...the Q/A on the RV website is clever...Peter..."the harmless mischief-maker." He uses the "C" word a lot."..the crisis is borne out of snobbery....preserving the class system"."Peter is the mocking-voice ...time for a social change"...LOL I can see why the part appealed to the "lefty" side of him ;-) But sadly, IMO,I doubt it would appeal to a wide American audience. "C"-based plots are not v. compelling over here.But then, I am sure this was made solely for a British audience, and I'm sure they will respond.

simpering on the sidelines...Oh dear and I was so looking forward to this and now I have to sit with my good friend, who is not a CF fan but liked P&P, but then who didn't, to watch Colin "simpering on the sidelines" and to think he went after this part...oh hum. I think Colin is due for a "hit" let us hope it will be BJD.

Ann, enjoy yourself at the premiere tomorrow. Try not to let these early reviews rain on your parade: you're seeing Colin on the big screen AND as "the real thing!" We'll all be thinking of you and will look forward to your report, whether good, bad, or indifferent. (Bethan) One thing puzzles me...why hasn't RV secured a US release? That puzzles me too. I think Karen has said that Overseas Film Group were considering distributing it here themselves? I hope that's the reason, but I have my doubts. Frankly, bad reviews in the UK will not bode well for a theatrical release here. But, let's wait for the major reviews to come out. Plenty of time to panic later on.;-) Agree with you, Bethan, that The Patriot would not have been a good move; CF doesn't need to be portrayed as a one-dimensional "baddie." I had been looking forward to seeing this one, and still will, but the more I read of it the less enthused I am. It seems it will be a black-and-white-no-gray-areas type of story. I had hoped for a more realistic, balanced view reflecting the complexities of the actual conflict.

Ann, don't panic!! Who is this Allen Something guy anyway? Having seen a brief clip of RV, I'm positive that SF does *not* have a Cockney accent, and having read the original Noel Coward play, Peter does not "simper" (nor do I think he's particularly "campy")...he's sardonic and quizzical..and he's also a successful businessman (well, he runs a successful travel agency...but, hey, he does work for his living!). Reviews are always a mixed bag. There have been some 4 star reviews ! So just go there and enjoy...I'm sure it will be a great evening! BTW.."The Scotsman" gave RV a bad review. I read the other day that it's under new management, and is severely alienating its traditional Jean Brodie type readership. It apparently published an article on the Royal Family, with a so-called website link, which led directly to a hard porn site. Can't see RV fitting in with this new regime!:-)

(Mari) It seems it will be a black-and-white-no-gray-areas type of story. I had hoped for a more realistic, balanced view reflecting the complexities of the actual conflict. Better to remember the old "Swamp Fox" we saw on the Wonderful World of Disney as kiddies, many eons ago. ;-) BTW, you have read that the real Francis Marion was not the hero we saw on that show and that's why they changed his name in this film. Agree, we need to see what the major newspapers say about RV. Unfortunatley, I had that same feeling about it being "dated" when I read it and was hoping they had rewritten those bits. Where does "dated" end and "atmospheric period piece" start?

Hoorah!! Finally a review I don't have to apologize for in advance. This is from the Shadows on the Wall website (Rich Cline), who gave it 3-1/2 stars. Not too shabby: Based on Noel Coward's play, Relative Values is sunny, cheeky and bright... just like a screwball comedy from the period in which it's set, the early 1950s. Complete with a cheesy, bouncy musical score! As it highlights a collision between starry Hollywood and stiff-upper-lip England, it makes fun of (and warmly affirms) the British class system. Felicity, the Countess of Marshwood (Andrews), is quietly worried when her son Nigel, the Earl (Atterton), falls for a glamorous movie starlet Miranda Frayle (Tripplehorn), who has recently broken up with her leading man Don (Baldwin). But the big problem is that, on the day Nigel is bringing Miranda home to meet Mummy, Felicity's maid (Thompson) confesses that she's actually Miranda's sister. So Felicity, a cynical cousin (Firth) and the unflappable family butler (Fry) concoct a scheme to salvage some dignity from the situation. And all is going according to plan until Don shows up at the gates ... along with platoons of giggling Girl Guides and, of course, the paparazzi. Dry, witty dialog trickles out delightfully from start to finish, as the cast relishes each word and nuance, eyes sparkling and teeth flashing. While it all feels stilted and starchy, it also gets very funny as the farce cranks up. Fry steals the show completely with a terrifically droll performance--as only he can pull off (over and over again!). And Thompson gives another clever, subtle comic turn. Since Styles (Dreaming of Joseph Lees) directs the film exactly like a '50s romantic farce, it's an intriguing reminder of just how much film comedy has evolved from simple and unassuming (like this) to sharp, gimmicky and outrageous (like, say, There's Something About Mary). The result is a bit odd--enjoyable and entertaining, inducing smiles and knowing chuckles more than outright laughter.

He's stirring again. Peter (Firth) and his aunt the Countess (Andrews) grin gleefully as things get more and more complicated at Marshwood.... Here's the review: http://www.users.zetnet.co.uk/rcline/swrelval.htm

Way to go, Karen. Obviously Rich Cline has better taste than Allen Hunter.;-) The reviews so far seem all over the board for this one; will be interesting to see what the coming days bring. Thanks too for the RV site CF interview links. (Karen) Where does "dated" end and "atmospheric period piece" start? It's a good question; even that positive review seems to feel this one creaks a bit. Yet something like P&P remains true to its period while managing to feel utterly timeless and like a breath of fresh air. (Karen) BTW, you have read that the real Francis Marion was not the hero we saw on that show and that's why they changed his name in this film. Yep, and I don't have a problem with them fictionalizing real people (though the studio was stupid to say it was in any way based on the Swamp Fox in the first place--they knew months ago about this guy's yucko nature). I just think there are more interesting aspects of the War that few filmmakers have delved into. For example, the real Swamp Fox spent most of his time fighting not the British, but other colonists who wanted to remain loyal to the Crown (a very common sentiment among the average folk). Wealthy landowners and merchants drove the revolution because they had the most to gain. I'd like to see someone make a film about that internal conflict instead of the good guys/bad guys routine that so many war films stoop to. (I liked Clooney's The Three Kings very much for being an exception in that respect.)

Ann kindly sent me that article from Heat magazine, which showed Renee Zellweger on location. (actually, the bigger hook to the article was Jim Carrey visiting the set) Have put them up on a new Bucket page: http://www.spring.net/karenr/mdbro/bjdloc.html (be grateful you don't have to look at me, Mari and Evelyn in front of all those places. *hee hee*)

WOW Karen....your 'BJD On Location' page is fantastic....No kidding....all the Bridget haunts...you got 'em all."192" folks, serves a superb lunch and the best Chardonnay in London. I think I took the Cafe Rouge picture...

(Karen) Where does "dated" end and "atmospheric period piece" start? That sometimes is contingent to the particular reviewer. It's a judgement call. The best you can do is to find a critic/reviewer whose taste is closest to your own. (Mari) For example, the real Swamp Fox spent most of his time fighting not the British, but other colonists who wanted to remain loyal to the Crown (a very common sentiment among the average folk). It was approximately 2/3's of the population of the American Colonies that supported the British during the American Revolution. The objective of the film "The Patriot" is not explore American history, but to hopefully duplicate the success of "Braveheart" for Mel Gibson. "Braveheart" was a largely white-washed and historically inaccurate accout of William Wallace. The historical Wallace was far more complex and brutal than what came across in that by-the-numbers popcorn extraganza.

Karen, I love your latest "drop" in the Bucket!:-) Makes me want to hum the theme from MisterRogers: "It's a beautiful day in the neighborhood. . . " (You should send your BJD Bucket URLs to the publicity lady, seriously.) (Evelyn) "192" folks, serves a superb lunch and the best Chardonnay in London. I'll second that. Great food, reasonably priced, good service. What a fun day day we had. Starting to think "reunion" again . . .:-)

Darn, I was hoping Ann would be able to report. Was it too late for you dear? "Braveheart" was a largely white-washed and historically inaccurate accout of William Wallace. Well that was kind of obvious wasn't it? Still and all, it had Mel "The Midas Touch" Gibson so he can pretty much do as he pleases. Besides, he's still kinda cute. ;-) Karen, my compliments too on the BJD page. It's fun to just look at or read.

Thanks, everybody, for the news, and Karen, your Bridget On Location is wonderful. Nice to hear Colin's voice once again. I don't care what the critics say, I love drawing room comedy, and so does Colin. You can tell from the snippets that he is having great fun. What was going on behind him in the one interview? I expected him to get up and strangle the person back there! Ann, have a great time tomorrow night. Can't wait for the report.

(Mari) Makes me want to hum the theme from MisterRogers: "It's a beautiful day in the neighborhood. . . " Don't laugh, but I almost called it Bridget's Neighborhood, but then I took off my cardigan ;-) Thank you, ladies. I've been planning it for a long time, just waiting for some fabulous pictures of frumpy woman coat to unveil. (Murph) What was going on behind him in the one interview? I expected him to get up and strangle the person back there! Think he was being heckled by Stephen Fry; it was all in good fun. Maybe we should check out the Stephen Fry interview to see if Colin was dancing around in the background or similar. ;-)

Wow Karen, your BJD site is sure lookin'good! I too am thinking the BJD people should see this!

Have posted v. long BBC press release about fall season's highlights on 127. No relevance to this topic unfortunately.

Geez, there's stuff on that BBC schedule that hasn't even been filmed yet--but already they've got slots for it. Would love to know the real reason DQ has apparently been buried. Pending lawsuits, you think? Cheryl, I just posted a rather prickly Evening Standard article on Mel and The Patriot on 127 that you might be interested in.

Pending lawsuits, you think? v. much doubt that. If it were the case, don't you think it would be big news? Besides, there have been jillions of movies, plays, books, etc., that have done the same thing. Notwithstanding the differences in our libel laws, I don't see how anyone (even Brian Souter) could sue or get an injunction against its broadcast.

I read your BBC Autumn schedule news, Karen, and felt sufficiently riled to have one last shot at getting information (I mean, we're getting another series of the absolutely appalling "Scarlet Pimpernel", and dramas as yet unfilmed have been slotted in. Words fail me!) Tried general info...they could give me nothing except "has not been scheduled yet". Absolutely no mention of 2001...where did that come from? Tried BBC Scotland again...Drama information. DQ is listed on the database (thanks!) but they have no schedule date confirmed."Maybe it's only going to be shown in Scotland" Finally, tried the BBC general switchboard, and asked for scheduling information. Nearly got transferred back to the uselss general info, but I insisted on speaking to someone in the Department of Broadcast Strategy and Channel Management (yes, there is one!). Was put through, and asked about DQ's scheduling and complained about "inconsistent" information. The person I spoke to was, I thought, rather curt. She said she'd go and check. She returned in less than a minute and said that DQ "had not been scheduled yet". I asked if it was possible to give some indication of season (Spring 2005?), but she just repeated, abruptly, that DQ "had not been scheduled". Positive thought ...they're saving it for Christmas, and the Battle of the Schedules. Negative thoughts...well, I did think "libel"...but it's just not hard-hitting enough, more of a quixotic fable. But I give up completely and on this one...Information unobtainable! On a happier note, our regional arts magazine (quite a serious mag) gives RV a very good review (and ridicules "The Next Best Thing"). Says RV is "great fun" and "transfers from stage to screen surprisingly well" "Marvellously performed by a classy cast who complement the material perfectly". Special praise for Sophie Thompson, JA and CF "cast against type as the campy nephew". So he *is* "campy"!

Ok, we know he was there! From Excite UK: Sound of music set Dame Julie cast at ease Wednesday 21 June 2000 Top News� Dame Julie Andrews put awe-struck co-stars of her latest movie at ease by bursting into one of her best known songs, screen colleague Stephen Fry has disclosed. The actor, at the UK premiere of their film Relative Values, said the cast members were terrified of approaching the movie legend when they first arrived on set. However, Dame Julie broke the tension with a rousing chorus of the theme tune from the Sound of Music which prompted spontaneous applause. Fry said: "There was a bit of tension, not because she's a monster or anything but because mapped into our psyches - we'd seen Mary Poppins and the Sound of Music so many times. "We were sitting on a sofa wondering what we should call her, whether it was Miss Andrews, Julie or just Jules. She'd looked out of the window and started singing 'the Hills are Alive with the Sound of Music' - everybody just burst into applause." The actor, at the screening in London's Odeon West End cinema, added: "She seems quite embarrassed that so many people know her for the Sound of Music, but she doesn't realise the affection we have for it. It's etched into our childhoods." Dame Julie was also at the premiere for her first film in a decade. Explaining her long screen absence, she said: "I've been working on Broadway and I've been working on television and doing all sorts of bits and pieces. It just took that long - let's hope it doesn't take that long again." The 64 year-old star revealed she was quite nervous herself when she first arrived on set but her co-stars relaxed her. She said: "They felt like family within two hours. We laughed a lot and told endless stories and got on with each other so quickly." The film is based on the Noel Coward comedy about a well-to-do family whose lives are turned upside down by a marriage announcement. It also stars heart-throb actor Colin Firth, best known for his role as the dashing D'Arcy in the BBC drama Pride and Prejudice. He was also at the screening. The film opens nationwide on Friday.

There was an item on the 10pm Sky news about RV. Showed JA arriving at the Premiere, large crowds. Two clips from the movie, one with CF smiling next to JA. Interviews with JA and Eric Styles, the director. Also a shot inside the foyer, showing Stephen Fry talking to Edward Atterton, JA to one side talking to some other people. Commentator said that although the movie "also starred Wiilliam Baldwin and Srephen Fry" there was no doubt that the main attraction was JA. So wot about the Invisible Man then? We await your report, Ann!

While we wait for the real thing, I thought you all would enjoy this darling page. It is all thanks to Jennie, an FOF and dollhouse person. She is at the premiere with the others tonight. http://www.geocities.com/firthfan/dolls.html

(Murph) What was going on behind him in the one interview? I expected him to get up and strangle the person back there! It would be appreciated for those of us without audio to get an approximation of the answers to questions. V. curious.

Agree with KJ. Can someone transcribe please? Checking again on Ann. This time I got the date right. ;-)

While we wait for word from Ann, here is a great review from the BBC: Director: Eric Styles Cast: Julie Andrews, William Baldwin, Edward Atterton, Sophie Thompson, Colin Firth, Stephen Fry Certificate: PG Opening Date: 23rd June 2000 Running Time: 89 mins No-one ever said that Julie Andrews didn't glow. Or didn't look utterly English. Even now, as she nudges 65, she seems - even when standing motionless - to have the jolliest kind of life going on inside her and to represent an England which barely exists any more. It is most fitting, then, that she is the comic cornerstone of No�l Coward's high-jinks frolic, a happy satire on English class set in the 50s. She is the Countess of Marshwood, a woman content with her status and class, but bright enough to see that social change is just over the hill. The Countess is mother to a decent idiot of a son (Edward Atterton), who has brought home a self-serving Hollywood film starlet (Jeanne Tripplehorn) who drools, if not over her fianc�, then certainly over the perks of his position. When the Countess's maid (Sophie Thompson) discovers she is the starlet's sister, the comedy of social mobility is about to explode. Which it does. Most amusingly indeed. Eric Styles (whose first film was "Dreaming of Joseph Lees") has kept Coward's play evenly balanced between satire and farce, and for every waspish line there is an outbreak of running around and door-slamming. Andrews savours every vowel as the kind of woman who appears to be nice even when being highly offensive, Colin Firth is increasingly hilarious as the cousin who has an objective view of the spiralling lunacy, Stephen Fry is predictably (but no less amusingly) cast as the urbane, intelligent butler, and Sophie Thompson has a grand old time feigning airs and graces. Fun in every frame.

The two clips that were shown on Sky were both funny...there's a lot going on...watch the facial expressions. The dialogue was new...not in the original.

MAJOR DISAPPOINTMENT -,he was not at the Premiere, filming commmitments, filming running late, anyway according to JA when she was introduced she said that Colin had just popped his head in but had to return to filming. Everyone was so disappointed,we never saw him, I really think it is too bad, he could at least had come up to the stage and been introduced to the audience like the others. We kept waiting and waiting for his car to pull up but no sign so we had to go in the cinema and so I asked is Colin Firth suppossed to be here tonight and they said it looked likely that he would not be there as he was filming and it was running late. I ask you, how long has the Premiere been scheduled for and quite a few people had come quite a long way just to see Colin and it says quite clearly on the Invitation "in the Company of CF etc" I can't tell you how disappointed I was and still am, talk about the invivible man he certainly was invisible tonight. The members of the cast who did appear were JA, of course, S , Sophie Thompson, (the star of the film imo) and Edward Atterton. The film was fun but I am afraid I have to agree with the reviewer who said Colin Firth "simpered on the sidelines", he said very little which was not particularly witty and pulled silly faces, what a waste of his talents. He did not play "camp" very well but maybe that is a good thing. Can't wait for BJD and those smouldering looks once again, we didn't get one smouldering look unless you count the odd look he gave the William Baldwin character. What an anti-climax, the only good thing was meeting some new Firth friends. Am going to bed will write some more tomorrow but there really isn't much more!

I have to agree with the reviewer who said Colin Firth "simpered on the sidelines", he said very little which was not particularly witty and pulled silly faces, what a waste of his talents. He did not play "camp" very well but maybe that is a good thing. Oh, Ann! How much more can we endure? He better be brilliant in BJD. Thank you for attending.

Ann...thank you for being our rep. You're a brave gal for going all that way...and in the morning I bet the film will seem better.At least they all had fun making it. He might just have had a few minutes before re-takes on BJD. Some actors don't like to get out of character between takes on the same day.

The Times review: In Coward's Relative Values Julie Andrews is every inch a star, says James Christopher Very superior mother Dear, darling Julie Andrews. To some she is the governess we never had. To others she is the nun whom Christopher Plummer had far too much. In Eric Styles's beautifully transposed version of Noel Coward's 1951 comedy, Relative Values, she blooms and blasts into the Mother Superior of leading ladies. The hair is slightly more orange than usual, the face is a blaze of freckles, and the bosom is far ampler than any of us would care to remember. As the doughty Countess of Marshwood, she is the picture of primness and poise. She has much to disapprove of, and a lot to reveal. Her dashing son, the Earl (Edward Atterton), has fallen for a Hollywood starlet. Worse, he's bringing her home to be his bride. We are never in any doubt about the seriousness of this country-house catastrophe. Jeanne Tripplehorn's pouting flake looks suspiciously older than Atterton's sixth-form earl. Her career is on the skids. Her famously sozzled former boyfriend (William Baldwin) arrives unannounced. Relatively speaking, she belongs downstairs - which is precisely where her long-forgotten and stunningly plain sister, Moxie (Sophie Thompson), has resided for 20 years. Social meltdown is on the cards. "If ever a girl needed her bottom smacking, she did," squeals Thompson with a perfect Sidcup accent. How Styles managed to leap from his first film, Dreaming of Joseph Lees (a ghastly piece of Northern grit), to this champagne charmer defies gravitas. Characters who struggle for oxygen on stage here compete to steal whole scenes. Stephen Fry is spookily perfect as one of life's natural butlers. Colin Firth, as Coward's acid-stripping alter-ego, has a way with one-liners that's almost indecent. But there's no mistaking the star and chief manipulator of this frivolous classic. Andrews could use a lot more steel, and a little less twinkle, when sticking the knife into the luckless Tripplehorn. Perhaps she simply hates the sight of blood.

Colin Firth, as Coward's acid-stripping alter-ego, has a way with one-liners that's almost indecent. Oh, God, yes! Somebody stop that man! ;-) Surprisingly, he did not rave about Sophie's performance which everyone has said is the best.

Thanks, Ann, for reporting in after what was such a long and disappointing day. Perhaps, a little champagne beforehand or a glimpse of Mr. Invisible would've improved the evening. we didn't get one smouldering look unless you count the odd look he gave the William Baldwin character. I bet I know when this takes place. That scene *nailed* it for me. There was no doubt in my mind about Peter after that... ;-)

A "Champagne Charmer"....that's good news from the Times. *sigh of relief*. I hope they use that quote in the adverts. On second viewing Ann, I bet you'll see the merits of the film. (Karen)I bet I know when this takes place. That scene *nailed* it for me. Karen, your sixth sense is scary;-)I well remember your diagnosis of Peter's character early in the game. When everyone else was disagreeing with you... Right Again!

From the Evening Standard; Karen, note the "confirmed bachelor" line;-) Relative Values (PG) Julie Andrews, Alec Baldwin, Jeanne Tripplehorn. Dir: Eric Styles. UK. 2000. 89mins. A comedy after Gordon Brown's heart. Noel Coward's comedy, in fact, written in 1951, about class distinctions in Wodehouse country. Seems the Earl of Marshwood (Edward Atterton) has gone and fallen for a Hollywood star, Miranda Frayle (Jeanne Tripplehorne). Panic at crenellated Marshwood Hall: his mother the Countess (Dame Julie Andrews) calls for aspirin on a silver salver. Even worse news is that Moxie (Sophie Thompson), her ladyship's maid, is revealed as Miranda's long-lost sister and the star herself was born in Sidcup. Surfacing in the troubled waters of British cinema: Relative Values, with Colin Firth and Julie Andrews Social equality is creeping up on class distinction, and must be frustrated. But Moxie won't accept instant promotion to being "secretary-companion". The butler Crestwell (Stephen Fry) has the solution: pretend Moxie has come into a fortune - money is the great leveller. Enter the lovers, fresh from France (with Le Monde in hand to prove it). But in hot, ingenuous pursuit is Miranda's co-star and ex-squeeze: famous, sleazy, cigarette-dangling Hollywood hick Don Lucas (William Baldwin). The countess schemes to break the engagement; Peter (Colin Firth), her confidant and "confirmed bachelor", lends aid and comfort; Moxie dithers in terror at her impersonation of the ruling class; Miranda flounces, flaunts and further disqualifies herself for county membership by insisting on a pre-dinner Hollywood-style dip in the pool; Crestwell steadies the boat with poly-syllabic smoothness of tongue; and Girl Guides muster in the shrubbery to gawp at the screen idols. The film was shot on the Isle of Man, presumably for tax-break reasons, and surfaces in the troubled waters of current British cinema, among the Lottery-funded wrecks, like the prehistoric coelacanth. One is sorry to see Eric Styles, whose debut film Dreaming of Joseph Lees showed such freshness, resurrecting the snob entertainment of the 1950s. But this said, it's competent, lightly enjoyable (in a mildly contemptuous way) and appeals to contemporary xenophobia by looking down its aristocratic nose at the Yanks. Coward had an understandable hit with it in an era when people still knew (and kept to) their respective places and the matinee-going class could chuckle self-flat-teringly at the very notion of Hollywood marrying into Debrett's, while seeing the family crisis end in time for church ("Everyone got change for the collection?"), just a Bentley's ride down the lane, where a nice girl called Caroline, clearly "one of us", catches the jilted young earl's eye. Class rules OK (for now).

Evelyn: I see dead people too! ;-) ***************** Teletext's review of RV (3 of 5 stars = good) by Doug Cooper At 64, Julie Andrews is still indisputably a star. Her screen presence remains undimmed and her immaculate sophistication and beauty is as radiant as ever. It's great to see her back on the silver screen again and a pity that she's not done more over the years. Her performance is a pleasure to watch, holding together this light-hearted romp from Noel Coward's play. As the matriarch, Lady Felicity, she registers a warm, motherly love to virtually all the characters around her - a calm centre while everyone else gets to cut loose and frolic energetically. Her son (Edward Atterton) has become engaged to the Hollywood movie siren Miranda Frayle (Jeanne Tripplehorn), but a spanner is thrown into the works when her ex-beau, film icon Bud Lucas (William Baldwin) arrives on the scene to win back her heart. Also on hand is Colin Firth, very amusingly playing against type as the family cousin, Peter, and Sophie Thompson, giving an impeccable comic performance as the family maid. Keeping in the background, but making sure that decorum is maintained at all times is Stephen Fry, first-rate as the head butler. Only Atterton, in fact, lets the side down with a slightly colourless and one-note turn as the impetuous son. It's sugary entertainment, amiable but disposable. But let's leave all that aside and just be grateful to the film for bringing back a genuine legend in Dame Julie. She reminds you of a Hollywood from a bygone era. More innocent, more glamorous and more glorious.

Capsule review from The Independent. 2 out of 5 stars Relative Values (PG) Director: Eric Styles Starring: Julie Andrews, Colin Firth, Stephen Fry It's rather curious that someone would want to film a No�l Coward play this way, in the kind of comforting production that TV used to do so well. It's a treat to see Julie Andrews back in the saddle, though a shame it's in this dated tale of a son bringing his bride-to-be home, only to discover she's the sister of the family maid. Silly premise, really. **

(PG) Julie Andrews, Alec Baldwin, Jeanne Tripplehorn. Dir: Eric Styles. UK. 2000. 89mins. Mari: Actually, I noted that This is London has Alec in the credits! :-)

ES: ...appeals to contemporary xenophobia by looking down its aristocratic nose at the Yanks. ROTF...I'm so stupid...that went over my head!! (See,we're used to it, folks) ~~~~ Thanks Reporters...they're not awful.

From the Northern Echo, review by Steve Pratt: Relative Values (PG) ** THIS adaptation of Noel Coward's comedy has a tendency to look too much like a filmed stage play but the top-notch cast and attractive locations ensure it's all jolly good fun in a TV drama sort of way. The cast do their utmost to invest the piece with the necessary wit and style led by Julie Andrews, making her return to the silver screen, as a countess whose joy at the news of her son's engagement is tempered when she discovers the identity of his fiancee. For the Earl of Marshwood (Atterton) has popped the question to quite unsuitable glamorous Hollywood actress Miranda Frayle (Tripplehorn) who's been getting romantic with her screen lover Don Lucas (Baldwin). Matters are complicated when the Countess's personal maid Moxie (Thompson) reveals she's actually Miranda's long-lost sister. Then add a camp nephew (Firth, relishing the chance to abandon his wet shirt Mr D'Arcy image in favour of limp-wristed bitching) and a sardonic butler (Fry at his most urbane). Put them all together for the weekend at a country estate and you have far too much plot and too many characters for a picture running a shade under an hour-and-a-half. Still, it's good to see Andrews again even if she doesn't burst into a chorus of "The hills are alive". Thompson is superb as the mousey maid forced to pretend to be a society woman while Tripplehorn and Baldwin seize the chance to gently send up tempermental Tinseltown types. ********** Also a bit in a Financial Times article that sarcastically critiques the summer movies in the form of a lecture: Well, class, there are just two more English-speaking movies this week and perhaps they're a little better. Relative Values, set in the 1950s, stars Julie Andrews, Colin Firth, William Baldwin, Jeanne Tripplehorn and Sophie Thompson in a film of the Noel Coward stage comedy. A lady with an ancestral pile wants to keep her son and heir from marrying a film star. Not great, but a certain polish?" "Oh no, sir. I couldn't agree less. For me, a mirthless mid-Atlantic mishmash." "Ancestral piles, sir!" "Scary Poppins, sir!" "Sir, on the subject of eternal recurrence I didn't understand if all that jolly music and loud apricot colouring in the visuals were a parodic pastiche of film styles of the period or just their own form of naffness." "You are cruel but possibly just. I must, however, commend the performance of Stephen Fry as the butler, an actor who knows how to use words like 'cognizance' and 'tinctured' and make them count in mixed vernacular company.

The Times has a quarter page ad for RV and also brief oneliners about each movie. You can appreciate how good a review is when you see other reviews. For RV, it's "JA in a fabulous Coward", for "Chill Factor" it's "thrilling as frozen chips", Deception (aka Reindeer Games) gets "overplotted thriller" and Next Best Thing gets "feeble drama" and a lousy review. RV is not the kind of movie that the Independent would like. The FT interview is too clever by half!

Ann, I meant to say thanks for the report. Maybe the film will improve for you on a second viewing, or maybe it won't, but I do appreciate your candor, dear. So disappointing that CF didn't show up; I can imagine your frustration. Darn. (Karen)Actually, I noted that This is London has Alec in the credits! :-) Like I told ya before. . .they're all one Baldwin.;-) (Karen, quoting) Then add a camp nephew (Firth, relishing the chance to abandon his wet shirt Mr D'Arcy image in favour of limp-wristed bitching) "Camp" seems to be the watchword for this performance. My question: If P&P brought us the "wet-shirted Darcy," does RV bring us the camp-shirted Peter?;-) (Evelyn)(See,we're used to it, folks) Hey Evelyn, if you lend me your star-spangled hairshirt, I'll let you borrow my red-white-and-blue "Kick Me" sign. ;-) Hee hee . . .

Hey Evelyn, if you lend me your star-spangled hairshirt, I'll let you borrow my red-white-and-blue "Kick Me" sign. ;-) Hee hee . . . LOL! My question: If P&P brought us the "wet-shirted Darcy," does RV bring us the camp-shirted Peter?;-) And they both fit! Thanks for the reviews, Karen and Mari. I just hope it will still be playing when I am in London.

(Mari) does RV bring us the camp-shirted Peter?;-) *reaching for my bottle of Glass Plus* LOL!! Since all the reviewers are commenting on the openly gay character Colin plays, it is very different from the play, as written and performed in the early 1950s. The character is not overtly gay. He doesn't prance around, limp-wristed or otherwise. We are viewing the playing through our present-day eyes, in which the character can be what was only hinted at in the '50s. In Act III, when Peter is talking to Don Lucas (and where I think that smouldering look might be), it seemed to be a private joke of Cowards that would sail over the heads of the 1950s audience. Don Lucas says something about "how there's only one Pete to me" [which is what Miranda and Don call each other] and Peter says "I'm sure it's very charming of you to say so." Didn't I tell you guys that I would've cast Harvey Fierstein in the role? ;-)

Ann, thanks for your report! I can appreciate that you would feel v.disappointed that Colin didn't show, but filming isn't always predictable. If they're filming to a tight schedule and if they had to finish a particular shoot in a particular booked location by a particular time, he'd have no option but to stay. Time is money, especially in Central London. I wonder if Livia had kitted herself out in her best frock, and then got a phone call from hubbie saying "sorry,darling...!" :-)

Thanks to Anne R., 2 more capsule reviews, one good, one bad: From The Birmingham Post: Relative Values: Never mind the plot contrivances, look at the frocks. Julie Andrews makes a triumphant return as an aristocratic matriarch whose son wants to make an unsuitable match with an actress. Colin Firth, Sophie Thompson and Stephen Fry all help to bolster up this impeccably dressed adaptation of a Noel Coward play. From the Sunday Herald: The same ["the film has a certain charm"] cannot be said for Relative Values, a completely unmemorable adaptation of the play by Noel Coward. A well-preserved Julie Andrews gives a strong showing but there is little else to recommend this flabby picture save an unintentionally hilarious attempt by Colin Firth to be CAMP. ***** (CAPS mine;-)

The Noel Coward Society's website: http://www.noelcoward.net/html/filmrelativevalues.html has a review from the webpage author; also mentions that Colin did attend the party afterward. (wonder if that is true) This is the first feature film of a No�l Coward script for over 50 years. The new Theatrical Companion to Coward (see separate offer!) tells us that the last major Coward film was Blithe Spirit in 1945. Since then there have been some remakes for television, but nothing like a major nationwide release. The event benefitted the Royal Society for the Prevention of Cruelty to Children and Fashion Acts. Dame Julie Andrews (who plays Felicity, Countess of Marshwood), William Baldwin (Don Lucas), Stephen Fry (Crestwell) Colin Firth (The Honourable Peter Ingleton), Edward Atterton (Nigel, Earl of Marshwood), the Director Eric Styles and Producer Chris Milburn were were all at the film and the premiere party. The film is on nationwide release from the Friday 23rd June. The film's web site is www.relative-values.com. Review of the Film - an immediate reaction from the web author after viewing the film. Let me say at the outset that this is a wonderful and expertly crafted film. I watched it with an audience of some 50 people from the press, media and the general public. It was extremely well-received by all. The film is set in the 1950s and evokes much of the feel of that decade - even the film stock has the colour quality of films of the period. The performance of each member of the cast is superb! Julie Andrews is faultless as Felicity and exhibits the all-knowing assuredness that we hoped the upper classes might have possessed! As The Tatler puts it "She is the witty, sensible but stylish matriarch, the Countess of Marshwood, faintly disapproving of her son and heir's imminent marriage to a Hollywood starlet. It is a magnificent piece of casting .." Colin Firth playing Felicity's nephew, Peter, is a wonderful foil for her in her more michievious moments in the film and is a genuinely funny character from start to finish. Sophie Thompson must plead guilty to almost stealing the film. Her performance, in what is a pivotal role in the plot, is comic acting at its finest with both pathos and humour. Stephen Fry, as his accent and demeanour switch when moving from upstairs to downstairs, is the trustworthy butler who wins respect by his understanding of his betters, their weaknesses and foibles and by his kindly but firm management of the staff - and his special relationship with Moxie. I must say a word for Alice played by Anwen Carlisle one of those essential character roles that lie at the heart of the best of British comedy films. From shots of her, 'out of control', dogwalking to an enraptured expression reserved for the stars of the silver screen she is wonderful! Jeanne Tripplehorn, William Baldwin and Edward Atterton as the love triangle, one working-class 'made-it', one laid back American 'has-it' and one up-tight aristocratic British 'got-it' - play off each other with great comedic skill and brilliance. For the Coward purists - the play is there - and at times the text is largely untouched. The exciting thing is that in enlarging the play, to make the film, nothing is lost and a lot has been gained. The underlying structure of the three act play is there but much has been added to give context and richness to the plot and the action. Essentially the film feels right, in period and is very Coward! Eric Styles has done a wonderful job in directing a comedic film of considerable weight within a limited budget, with, one has to say, excellent actors. This film should be the surprise hit of the year. It is a 'must see' film! ********** (he might have gone bit too OTT) ;-)

You know, Mari, I prefer being called a "camp follower" than a cult member any day, but I fear we'd have to hang out at King's Cross ;-)

LOL!! I'd follow that particular "camp" anywhere! Anybody with audio willing to transcribe the interviews?? Please?

(Bethan), but filming isn't always predictable I am sorry to be cynical but I don't buy this reason. Don't forget it was his wedding anniversary. I do really hope it was not for that reason he cried off. It would not surprise me however. I think he is rather too good at putting his private life before his career which is all very fine but you can't expect to *drink the coffee* that way. And why should the rest of us worry when he doesn't? I am feeling for Ann on this. She should complain!! He has known about this premier for weeks. They could have let him go for the evening. I think it was an excuse.

They could have let him go for the evening. I think it was an excuse. Didn't RZ attend the premiere of "Me , Myself and Irene" last Friday day night in LA? ~~~~~~ I am feeling for Ann on this. She should complain!! Show 'em...ask for your money back;-)

I'm afraid I tend to share that suspicion.

Thanks Ladies for your sympathy, it was a disappointment but I guess we will never know the true story. According to Liza' Timeline, Colin turned up at the cinema, after we had taken our seats, chatted to the reporters outside before returning to the BJD set and actually made it to the Party later. To think we paid 25pounds for the privilege of "not" seeing him,when we could have stayed by the barriers for nothing and seen him. (now then Ann!!) Oh hum.

The Guardian's Peter Bradshaw: Eric Styles made a distinctive debut with his first film, Dreaming of Joseph Lees, a gloomy, Hardyesque tragedy. Now he has exhumed No�l Coward's Relative Values, a brittle comedy which is not of the Master's first rank. In attempting to dissolve its theatrical boundaries, the adaptation smudges the clarity and unity of the stage settings and in any case ends up becalmed in the various rooms of "Marshwood Hall". There is much tinkling laughter and people in black tie saying lines like: "Everything is quite, quite ghastly!" Julie Andrews is a regal presence as the Countess of Marshwood - though her hair and deportment suggest modern California rather than pinched, 50s Britain. She resents her son's engagement to Miranda(Jeanne Tripplehorn), an American movie star being pursued by another Yank, Billy Baldwin. It's the kind of accomplished cast that would pack them in at, say, London's Theatre Royal, Haymarket. But on the screen everything looks too creaky - including the reactionary view that Brits and Americans should know their respective stations in life. That said, there is a droll turn from Stephen Fry as the butler and an outstandingly funny, sympathetic performance from Sophie Thompson as Moxie the maid. ******************** And then Imogen Tilden's from Film Unlimited: A relative success Although its theatrical origins are all too evident, this is a light and witty adaption, says Imogen Tilden It is almost 50 years since Coward wrote his play, but Eric Styles is the first to bring it to the cinema screen. This is no coincidence. Coward, the master of mannered comedy is one of the stage's undisputed greats, but directors have shied away from transposing his sparkling, stylised and theatrical prose to film. Last year, the centenary of his birth, eight Coward adaptations were reported to be in production; this is the first to see the light of day. Eric Styles's directorial debut was the humourless and tragic Dreaming of Joseph Lees, and you could be forgiven for approaching his second film with caution. Styles has again teamed again with producer Christopher Milburn, but there the similarities end. Relative Values is a tightly paced and very funny film with barely a second wasted. Set in the early 50s in a postwar Britain still riddled with class snobbery, the plot is simple. The Earl of Marshwood becomes engaged to glamorous Hollywood actress Miranda Frayle (Jeanne Tripplehorn), and takes her home to meet mummy (Julie Andrews), who is less than happy about the prospect of an actress as the future Lady of the manor. When Moxie, Lady Marshwood's personal maid (Sophie Thompson) reveals the actress is in fact Moxie's sister who ran off to Hollywood 20 years previously, it becomes clear that the marriage cannot go ahead. Miranda is also being pursued by her on- and off-screen former lover, the rakish Don Lucas (William Baldwin), who has realised she is the only woman for him. Lady Marshwood, of course, knows what is really best for all concerned, and takes matters into her own hands. The opening montage of film-reel news and newspaper clippings establishes the characters, setting and mood very effectively, and it is with something of a clunk that we move to Marshwood House. But the pace soon picks up again, and an enjoyable story unfolds. The bright technicolour sets give a nostalgic 50s feel, and although the small budget is sometimes painfully evident - 'London airport' looks like something left over from Carry On Abroad - it seems small-minded to carp about it. There are some delightful touches and amusing moments, many provided by the American actors, William Baldwin and Jeanne Tripplehorn, who send themselves up particularly well. In fact the entire cast is impressive. Colin Firth does an extraordinary turn as Lady Marshwood's mischievous nephew, clearly enjoying himself enormously, Firth's role is reputed to have be on Coward: he just stops short of holding his wrist limply and lisping. Various comic understairs characters add to the familiar landscape of English farce (Stephen Fry does his best sub-Jeeves impression). It is Sophie Thompson (Emma's younger sister) who steals the show. As Moxie, Lady Marshwood's personal maid, hers is the pivotal role. She maintains the delicate balance between outright farce and Coward's subtle comedy of manners, while managing to convey a complex and anguish character. If, like me, you can't watch Julie Andrews on screen without expecting her to break into 'My favourite things', it will be a delicious shock to see her playing a character more akin to Lady Bracknell than Mary Poppins. Andrews is majestic and she glides through each scene with the hint of a smug smile on her lips, managing to get everyone dispatched "in time for church", and resisting the temptation to tip her character into broad caricature. But when all's said and done, this is a film of a play, and its theatrical origins give it at best the feel of a television drama. The cast are a little too smug, and some of the dialogue could have been more rigorously edited - many of the asides sound overly theatrical. Styles directs with a light touch. He did well to remember Coward's maxim: "Comedies of manners swiftly become obsolete when there are no longer any manners", and keeps the emphasis firmly on the manners. But this comes at the expense of the darker undertones of Coward's script: and Julie Andrews could have done with a bit more steel and a bit less sparkle as she sticks the knife in the back of her son's fiancee. Still, any film that features Colin Firth delivering the line: "There are two girl guides in the shrubbery dear" with barely a smirk must be worth a look.

Lisa's posted at her website (Timeline) that he arrived late and chatted to reporters outside the theatre, and then rushed back to finish some shots for BJD. And later attended a post-screening reception at the National Portrait Gallery. (Who is the source of all this information? :-)) Sounds as though he tried ....if he didn't want to go, there was no point in turning up late. Sounds more disorganised than anything else! :-)

I'm afraid I tend to share that suspicion.

And Film Unlimited also has an interview with Julie Andrews to view and the transcript is provided here: http://www.filmunlimited.co.uk/Feature_Story/interview/0,5365,335262,00.html Or watch interview here: http://www.silicon.com/Guardian/guardian_julie_andrews.htm Sorry to hear the latest, Ann. You couldn't have known and it does sound like he really could not get out of work. BTW, Ev, Renee Z was not at any of the Me Myself and Irene stuff I don't think. Everything on TV had been recorded long ago. KJ: We will get Colin's answers transcribed. Have no fear. Just rather buried at present. ;-)

(Karen)BTW, Ev, Renee Z was not at any of the Me Myself and Irene stuff I don't think. Everything on TV had been recorded long ago. I just saw her on ET the other night and they spoke about the premiere...so I thought....But if you say so, boss:-) Arami....your computer is stuck on the same posting ;-))

The invisible man syndrome again - have just watched Film 2000 Interview with JA and film clips, no mention of CF and no clip, recorded Screentime on at the same time on ITV, of the cast of 7, six names mentioned guess who was missing! Oh well, I guess it is better to be ignored that be told you look "70". I shall be seeing RV again on Saturday in a better frame of mind, and feel sure I will like it more.

Yes, it's "funny" how they manage to miss his name...too much of a coincidence! Hope you're cheering up, Ann. Something must have seriously delayed him on the BJD set, otherwise there was absolutely no point in turning up late. On the name thing, RV is (miracle upon miracle!) showing in our local Showcase, and the ad just says "Julie Andrews and Colin Firth" in RV. You win some, lose some! BTW, on CF's movies...probably nothing will ever match the impact of P&P. Nowadays, I think it's an achievement for British actors just to appear regularly in reasonably okay stuff. Very few do!

Thanks to everyone who posted articles and reviews from various and sundry sources. Another thank you to Mari for posting "The Patriot" article at Odds and Ends.

Arami....your computer is stuck on the same posting ;-)) I'm afraid I tend to share that suspicion... ;-)

One of the women who attended the gala after the premiere has posted a great report at FOF. I have asked permission to put the whole on my site, and when she says OK, I will point all there. A brief summary: Colin arrived late, was dropped off in a Jag in front of the Odeon at the very last minute. Did not appear on stage as was said. I think it was at that point that he had to go do the BJD filming, because he came a bit late to the gala at the National Portrait Gallery. Livia was there, looking gorgeous, and Colin's mother, being very nice and attentive to people. Julie was also gracious and lovely to all. CF had a great time talking. At one point he and Rushdie were deep in conversation. They appeared to exchange addresses. Colin was fooling around too, grabbing some guy's coat and darting back to the group he was in, giggling like mad. It seems they knew one another and had a great laugh. His group left late, as the FOF was leaving.

Oh yes, and this is how he looked: His hair was great and he did have Darcyesque sideburns. He was wearing a dark blue suit, with a white shirt (or very pale blue) with a silvery tie. He was thinner again, but quite dazzling, all smiles and delight!

Review from the Telegraph (had to pick up the last sentence of the previous review or it wouldn't make sense): But make no mistake - this is Midler's film and it's a pretty good one. So too is Relative Values, despite Julie Andrews being the least aristocratic English countess you can possibly imagine. Thirty-five years on from Mary Poppins and The Sound of Music, she still exudes a niceness that, if not at odds with No�l Coward's original satire about Britain's post-war class system, certainly undermines it. Put just about any other actress of the right vintage in the part of the Countess of Marshwood and you would have a very different film. Then again, I don't suppose the plot would make any more sense. Ah yes, the plot. A wonderful set of 1950s opening graphics quickly brings us up to date with the fact that the young Earl of Marshwood (son of the the widowed Countess) has rocked genteel society by becoming engaged to an American film actress, Miranda Frayle (Jeanne Tripplehorn). This, as far as his mother is concerned, is wearisome but livable-with - until she discovers that her son's fianc�e is actually the sister of her devoted personal maid, Moxie (Sophie Thompson). Then it gets really complicated - not because that makes Miranda working-class but (and here I really begin to struggle), because her elevation to countess would humiliate her hard-working, ever-so-'umble sister. The solution, dreamt up by the Countess's ever-so-resourceful butler (an on-form Stephen Fry) is to pretend that Moxie has suddenly become a wealthy heiress and make her a house-guest rather than a servant. This, of course, doesn't make it all right, but I'll leave it to you to find out why. Frankly, this is one of those films that becomes less satisfactory the more you think about it. So I think the sensible thing is to stop thinking about it and just enjoy the view. Andrews remains an attractive presence on screen, and she receives diverting support from Colin Firth, whose unlikely performance as her CAMP, cravat-wearing nephew lies in that delicate area between beautifully understated and possibly not very good. Given that he is occasionally ill-served by Eric Styles's otherwise confident direction, I think we will incline toward the former.

Flier for RV found under the windscreen wiper of a car in my street: shows the film poster on one side, and 4 small pics + quotes + free-glass-of-wine-with-this-leaflet-at-Chez-Gerard offer on the back. Never seen a film ad under a windscreen wiper in this area before.

2/5 rating from Daily Mail Julie Andrews sails through the latest British costume comedy RV, like some stately galleon, but something should have been done about her outfits, which make her look like Margaret Dumont in the Marx Brothers pictures. RV is probably the most creakiest and snobbish of Noel Coward's social comedies and although the film is set less than 50 years ago, its characters seem to come from another planet. Can we really care whether the Earl of Marshwood is going to marry Hollywood star Miranda Frayle and thereby lower the tone of he aristocracy? Tripplehorn and William Baldwin, as her former boyfriend, can do little that's funny as a couple of caricature Hollywood actors. Colin Firth, hilariously miscast in the Noel Coward role, flounces around the edge of the plot with an entertaining impersonation of John Inman (Oh bliss! he gasps as some new disaster unfolds. 'Histrionics!'). This is a pretty awful performance, but I have a sneaking admiration for Firth's courage. I just hope he doesn't run into Peter Tatchell on a dark night. The best thing in the movie is Sophie Thompson, funny and sad as the frumpy sister who can expose Miranda as a fraud. RV is never less than amiable, but you end up wondering why director Eric Styles bothered to make the film. It looks like an old-fashioned stage play, insufficiently rewritten for the cinema. Small picture of CF and JA. He looks mischievious. Possibly a clip from the film. I'm looking forward to seeing the film this weekend.

Lisa's posted at her website (Timeline) that he arrived late and chatted to reporters outside the theatre, and then rushed back to finish some shots for BJD. And later attended a post-screening reception at the National Portrait Gallery All is forgiven. He was there with Livia and his mum. Ahhhh.

Never seen a film ad under a windscreen wiper in this area before. Wish they'd do that here...and a free glass of wine. What an idea! What a hideous review, Aishling. The Daily Mail person really has something stuck up his posterior. Margaret Dumont?! Colin flouncing? Is he a joke or what. (that isn't a question)

From The Mirror: Best bet of this week's releases is Relative Values - an hour and a half of light-hearted, slightly dated but agreeable whimsy. It's England in the 1950s and the countess Felicity (Julie Andrews) is not too pleased that her son intends marrying American film star Miranda (Jeanne Tripplehorn). But her plans to avoid scandal by passing Miranda off as a rich spinster go awry when her future daughter-in-law turns out to be the sister of her maid Moxie (Sophie Thompson). So Miranda's arrival causes a stir both upstairs and downstairs. Adapted from a Noel Coward play, Relative Values is entertaining, well acted and funny. Sophie Thompson is outstanding as Moxie, and the rest of the film saunters along amiably. Still, it's hard to get worked up about the social stigma attached to an upper-class twit marrying a movie star and, although Relative Values is enjoyable, I wouldn't want to sit through it again.

Here's the Time Out review (thanks to FoF Martine). _____________________ Relative Values Director Eric Styles follows 'Dreaming of Joseph Lees' with another 1950s British setting and, more broadly, another depiction of the complications of romance and marriage. In this case, the marriage in question is that of the Earl of Marshwood (Edward Atterton), a young, highly eligible English gentleman expected to marry within his own class. His announcement, therefore, that he plans to wed Hollywood starlet Miranda Frayle (Jeanne Tripplehorn) is met with some consternation. His doting mother, the Countess (Julie Andrews), ia hastily advised by friends not to allow her little corner of England to be sullied; her persoanl maid Moxie (Sophie Thompson) reveals that she's Miranda long-lost sister and terrified lest their disparate personal circumstances be made plain; and the staffof Marshwood Hall are dizzy with excitement at the prospect of meeting a famous Hollywood actress. Near-hysteria builds further when hot on the heels of the happy couple comes Don Lucas ( William Bladwin), a big-shot actorand Miranda's former lover who wants her back. Based on Noel Coward's satire of the classist society of post-war Britain, Styles' film is undemanding, but possesses funny moments and contemporary relevance. The casting is appropriate: Thompson and Stephen Fry (as the droll, urbane butler) in particular demonstrate the precision and wit of Coward's language, Atterton has the requisite classic English looks and is afforded the funniest lines ('We just say riding in England, the horseback's taken for granted'), while Tripplehorn captures the capriciousness of a stereotypical Hollywood star. Unfortunately, however, the hidden depth of compassion of Coward's play only occasionally surfaces - it seems to have been lost in the effort to keep things light - and we're left with something of little substance, sporadically amusing, but fleeting and flimsy. Katy Wilkinson

(Telegraph review) Andrews remains an attractive presence on screen, and she receives diverting support from Colin Firth, whose unlikely performance as her CAMP, cravat-wearing nephew lies in that delicate area between beautifully understated and possibly not very good. Given that he is occasionally ill-served by Eric Styles's otherwise confident direction, I think we will incline toward the former. (Mari, I assume the caps were yours). Uh-oh, I don't know if I like this. Sometimes CF is a little too understated for his own good (IMOIMOIMVHO). About half the critics loved the movie/his performance while the other half hated it and/or him. Talked about mixed reviews...don't think this bodes well for our ever seeing RV on the big screen here in the states :-( (Yet we liked MLSF better, so who knows.)

Mixed but predictable...you almost know which reviewer is going to like it/him/dislike it/him. Apparently Alexander Walker of the ES (who liked MLSF very much) praises RV as "Witty and clever" whereas the Daily Express reviewer (who dismissed MLSF as a boring waste of space) doesn't even bother to review RV. The Daily Mail reviewer is the same one who said in no uncertain terms that CF was miscast as Edward in MLSF.

Was it Christopher Tookey, Bethan, only he gave CF a glowing review for Fever Pitch. Incidentally RV is playing at two cinemas in Brighton!!! and I forgot to mention that I recorded GMT yesterday morning just in case they had something on the Premiere, no Premiere news but a televsision advert for Relative Values, when was the last time I saw a television advet for a CF film probably SIL and they said there was no money for advertising and distribution, must have found some somewhere. Actually I have been thinking about the film and he is quite cute in it and obviously having a great time so what the heck. I am glad I am seeing it again tomorrow.

Just returned from a local evening showing of RV, just 12 of us in the cinema! I have to admit to enjoying it, end of week relaxation etc I can't remember a time when ODB 's dimples have been more pronounced, gorgeous! He's not John Inman. that's for sure and the part's too big to be considered as "simpering on the sidelines" etc I have to say that the cravat is as big a mistake as his TOTS suit, not v. authentic, but he got a lot of laughs from the audience. For me, it was pure pleasure just to focus on his expressions. His eyes were sparkling and his dimples in evidence, I can't say that i really took everything else in too much. What a shame, will have to go again, just to focus on the plot, now that's hardship for you. Sorry to hear about your experiences Ann. Hope you enjoy your experience more tomorrow. It has been quite a day...... This morning Helen Fielding mentioned Colin quite clearly before anyone else in her C4 interview and was delighted with what she had seen on set this week. Must dash to check out Karen's site and all the other goodies you put up. Thanks everyone for the links.

http://www.amazon.co.uk have the soundtrack to "Relative values" available at �11.99...music and dialogue from the movie. Congrats on being so quick off the mark, Lizza! RV is showing in one cinema here, but the biggest and best. Hope to go Sunday, or mid-week latest! I slammed a tape in when the RV item came up on SkyNews, so have a few megaseconds of CF to study. Looks young and cute. No cravat. Light grey suit, waistcoat, white shirt and grey tie, Tres elegant. Is smirking, but I've no problem with that! Re. the reviews. Compared with the US, our reviewers are generally less enthusiastic, less generous and can be very cutting. 2 stars is very okay (1 star/no star is common) If you want b-a-d reviews you should read some of the comments on Madonna and Rupert. And Donald Sutherland in the West End theatre!

Here's the full [bad] review from The Independent: YOU CAN practically smell the mildew on Relative Values, a stiff adaptation of a Noel Coward play that sets Hollywood and high society on a collision course. It centres upon an inappropriate love match: a titled twit falls for a leading American actress and announces their engagement, much to the chagrin of his mother Lady Marshwood (Julie Andrews) and her maid Moxie (Sophie Thompson), who unbeknown to all is the estranged sister of the Hollywood star. Meanwhile, Lady Marshwood's raffish nephew (Colin Firth) and butler (Stephen Fry) orchestrate a plot to foil the nuptials and direct the "jumped-up colonial floozy" back into the arms of her leading man (William Baldwin). That the piece is dated wouldn't matter so much if there were some pizzazz in the writing and staging, but director Eric Styles and writers Paul Rattigan and Michael Walker haven't provided the oil to stop it creaking. I can't imagine Coward's original exactly popped like champagne, but on film it's about as enticing as flat Lucozade. Left high and dry by the adapters, the cast flail madly, retreating into mannerism or, in Colin Firth's case, cutting a faintly ridiculous dash as the gay blade. The one person who emerges from it all with dignity intact is Andrews; she manages to waltz through the drawing-room twitter with something very like aplomb.

Also, an interview with Sophie Thompson from The Birmingham Post, where she mentions Colin from Tumbledown time. INTERVIEW: SOPHIE, AN ACTOR IN WAITING: STAR OF RELATIVE VALUES SOPHIE THOMPSON, SISTER OF EMMA, TELLS ALISON JONES OF WEIGHTIER THINGS ON HER MIND. 23-Jun-2000 Sophie Thompson has been considering her career options lately. The lulls between jobs that are part of most actors' careers have prompted her to consider what else she could turn her creative talents to. 'I'm quite good at gluing things and cutting up,' proffered the devoted mum of three year old Ernie. 'In my darkest hours I do wonder what else I could do rather than sitting around waiting for other people to give me work.' 'My husband and sister both write but I don't have that kind of natural urge. I don't believe the saying that everyone has a book in them, I reckon I've only got a pamphlet.' For the moment Sophie, who is married to actor Richard Lumsden, has weightier matters on her mind, namely that she is six-and-a-half months pregnant with their second child. It will be the latest addition to a theatrical family dynasty that could soon rival the Redgraves. Apart from Ernie, Sophie's big sister Emma Thompson and her partner Greg Wise are the proud parents of baby Gaia. Proud grandmother Phyllida Law lives in the same street as her two daughters and is conveniently on call for baby-sitting duties. 'I'm getting quite big now. I'm over the morning sickness but I'm feeling a bit slow and lumpen,' admitted Sophie, who is 37. 'Ernie's getting quite excited. He rather likes the idea of having someone to show off to.' If the blooming mother-to-be feels the need to refresh her memory about what her toes look like, she can slip along to the cinema where, thanks to the time lapse that occurs between the making and release of a film , she is her usual trim self in Relative Values. Adapted from Noel Coward's play, it is a rather strained comedy of manners about an aristocratic family who are mortified by the scion of the estate's plan to marry a movie star. Adding to the potential for public scandal is the revelation by her Ladyship's personal maid Moxie (Sophie Thompson) that the actress (Jeanne Tripplehorn) is in fact her estranged sister. Though they are ill-served by the script, there is some sterling work from Sophie, Stephen Fry as the butler and Colin Firth as a camp cousin, attempting to wring laughs from the situation. 'What I found lovely about the part was I actually got the chance to work with everyone,' said Sophie. 'Very often in movies you never actually meet some of your co-stars. 'For example I knew Colin because I shot a small scene for a brilliant film he did about the Falklands called Tumbledown. I met him on set but I had never acted opposite him. 'Stephen Fry was in Footlights at Cambridge with my sister Emma. I used to hand him his outfits and props backstage when they appeared at the Edinburgh Festival.' Relative Values does enjoy a certain curiosity value in that it boasts a rare screen appearance by Julie Andrews, who is in stately form as the blue blooded matriarch. 'She is just amazing,' enthused Sophie. 'She is the most professional person you are ever likely to work with. She was practically born in a trunk so she has got incredible stamina and poise. 'She doesn't play the grande dame at all. It was the same with Meryl Streep who I worked with on Dancing at Lughnasa. At first you feel like you already know them but you get over that quite fast. Then you just feel like you are working with someone brilliant.' The newly Damed Julie is clearly conscious of the reputation that precedes her. While gazing at the view from the window of the stately home where they were filming she broke the ice by bursting into a quick chorus of 'the hills are alive'. 'We practically wept with laughter when she did it,' recalled Sophie. 'She is very comfy with all of that and she has still got a cracking voice, even though I know she has had trouble with it.' American actor William Baldwin rounded out the cast as Jeanne's jilted movie star ex. 'They settled in quite nicely once they had got their computers set up and could start sending e-mails. 'I think they were the most home sick and I really felt for them. Billy flew a couple of times because his wife was having a baby and Jeanne's chap came over.' The role of Moxie is a rare lead for Sophie, who usually specialises in scene stealing character parts. She was hilarious as the second bride in Four Weddings and a Funeral who memorably enjoyed a mid-reception bonk with her husband, unaware that Hugh Grant was cringing in a cupboard nearby. And she was particularly touching as the twittering spinster who was crushed by a careless remark from Gwyneth Paltrow in Emma. Her ability to transform herself for each role means that, unlike her sister, she can take part in hugely successful projects yet retain a degree of anonymity. 'I've never wanted people to stop me in the street. I would love it if you could look completely different when acting but you never quite do. 'It is very pleasing to think your face can do different things, however, it would be nice to be able to put it down and walk away from it like a musician can with an instrument. As an actor once people recognise you they develop expectations because of the parts you've played 'Of course I have seen what Emma has gone through with the press on her doorstep and naturally I've been supportive. I said 'Don't darken our doorway again woman, you're coming nowhere near our home,'' she said going off into peels of laughter. Despite the glittering prizes Emma has received as an academic and an actress, she remains genuinely proud rather than envious of her success. Sophie herself has won a prestigious Olivier award for her performance on stage in the Sondheim musical Into The Woods. 'I think we are all pretty good about not being jealous - the thing is acting is not a sport. People don't go into it to win medals like they do in the Olympics, so I always think that is a funny attitude to have. Anyway we are all so different as actresses that I don't think it would occur to us to compete.'

A couple more reviews: Excerpt from this week�s GAT magazine: (On The Next Best Thing) The scene at the graveside of a gay friend who has succumbed to AIDs is truly appalling in its schmaltziness and even the intervention of two of the most evil queens this side of Sleeping beauty cannot save the enterprise from being a dud�. Talking of queens, everybody�s favourite Mr Darcy, Colin Firth, gets a bit camp himself in Relative Values, the big screen reworking of N�el Coward�s play. Julie Andrews is the upper class mum whose son decides to marry a very unsuitable Hollywood actress (Jeanne Tripplehorn). Just hoe unsuitable becomes apparent when she turns up at the family�s country seat with her ex-lover and fellow film star (William Baldwin) in tow. Lots of skeletons in different closets come out, mostly revealed by the maid (Sophie Thompson) and everybody has a jolly good time screaming and shouting. Firth bitches it up a storm as the Countess�s nephew and Stephen Fry does a nice job as the butler in this rather old fashioned but charming comedy. ************************************************ From Metro 23/6/2000 Real Lack Of Class � Fiona Morrow There are grande-dames and period costumes from both Britain and America this week, as Julie Andrews and Bette Midler play matriarchs, albeit from different sides of the track. Andrews is predictably, unremarkably okay as the upper-crust Countess of Marshwood in Eric Styles� version of Noel Coward�s Relative values, a flabby production that functions largely as an exercise in comic mistiming. The examination of class and manners may be ever pertinent, but Styles does nothing to bring things up to date. Edward Atherton plays Andrews� son, determined to marry a Hollywood star (Jeanne Tripplehorn) whose pedigree turns out to be even deeper below stairs than everyone imagined. Credit goes to Stephen Fry's kindly, super-articulate butler,the deliciously camp Colin Firth and the game Sophie Thompson for trying to inject life into the proceedings though the same can�t be said for William Baldwin, as Tripplehorn�s real love, who kills every scene he�s in. ***** Not the greatest reviews ever, but at least CF comes off relatively unscathed!

RV is showing in 4 theatres (all major cities) in the NE and NW, so there's no way it can feature in the box office Top Ten! I'm just pleased it has been released......believe me that's a major achievement for an "English" film without obvious "yoof" appeal. Even JA's iconic status doesn't seem to count for much with some reviewers. "The Sound of..what?" "Mary Who?" The examination of class and manners may be ever pertinent, but Styles does nothing to bring things up to date. Why should he? This is a 1950s period comedy, not a socially-relevant docu-drama set in Docklands in the new millenium. The "Independent"..hmmm. I seem to recall that it was the Independent reviewer who praised Ben Elton (screenwriter of "Maybe Baby", which has done well at the Box Office) for "skillfully blending jokes on masturbation, dog shit and lesbianism". I was eating at the time I read this...quite put me off! Tastes obviously differ!

I'm really looking forward to seeing RV, though it will take some time until it gets here. There may be some bad reviews, but the majority of reviewers obviously enjoyed it. BTW, my twinwave email address doesn't work today (?). If necessary please use threedeers@yahoo.com, thanks.

Thanks all for the RV reviews, good and bad. Someone found a link to an official Londinium Site. I think this is new. Same pictures Karen has: http://sunlightproductions.com/Londinium/stills.html

From the interview with Sophie Thompson: Her ability to transform herself for each role means that, unlike her sister, she can take part in hugely successful projects yet retain a degree of anonymity. 'I've never wanted people to stop me in the street. I would love it if you could look completely different when acting but you never quite do. 'It is very pleasing to think your face can do different things, however, it would be nice to be able to put it down and walk away from it like a musician can with an instrument. As an actor once people recognise you they develop expectations because of the parts you've played ' Sounds familiar... :-)

Thank you ladies for posting all those reviews. I am looking forward to seeing Colin camp it up. I hope it will still be playing in July.