The romantic drama “Film Stars Don’t Die in Liverpool” chronicles
the later years in the life of Hollywood icon Gloria Grahame (played in the
film by Annette Bening). Though Grahame’s legacy
hasn’t stood the test of time as well as some of her peers, she made a name for
herself in noir films and acted against Humphrey Bogart and Joan Crawford — even
winning an Academy Award for her supporting role in 1952’s “The Bad and the
Beautiful.”
But “Film
Stars” doesn’t take place during the height of the actress’ career, focusing
instead on the May-December love affair between then-55-year-old Grahame and
26-year-old struggling actor Peter Turner (Jamie Bell), whom she met while
performing regional theater in Northern England in the late 70’s. The film’s
chronology-jumping narrative shifts back and forth between Gloria and Peter’s
fling in 1979 and 1981, when Grahame unexpectedly comes back into Peter’s life.
Though the
two are no longer together, Peter welcomes her with open arms. She makes
efforts to hide it, but it quickly becomes obvious that the actress is gravely
ill, facing the late stages of breast cancer. Asking to stay with Peter and his
parents (Julie Walters and Kenneth Cranham) in their
home in working-class Liverpool, she clearly still feels something for Peter
and turns to him for comfort.
We learn
that Grahame has for some time been refusing treatment in order to keep
working. Though the legend’s fame had faded, she takes whatever gigs that are
offered, so she can continue to provide for her and her family — all the while
doing her best to keep them in the dark about her illness.
Scottish
director Paul McGuigan (“Victor Frankenstein”) and
screenwriter Matt Greenhalgh offer only vague
impressions of her relationship with her remaining family members. The only
glimpse we receive is during her initial relationship with Peter, in a sequence
in which she brings him back to California, and they meet her mother (Vanessa
Redgrave) and sister (Frances Barber).
These scenes
touch lightly on the scandals of her past, making passing reference to a sexual
relationship Grahame had with Tony Ray, the 13-year-old son of her second
husband, “Rebel Without a Cause” director Nicholas Ray.
Tony later became the actress’s fourth husband. Considering the pattern of
embarking on another relationship with a much younger man, breaking it off,
only to reconnect with him years later, it seems odd the script doesn’t even
attempt to offer any insight into this behavior.
Because the
film is based on the memoir written by the real-life Turner about his
experiences, the film ends up being much more about him than it is her. Like
“My Week with Marilyn,” another story of a young man’s romance with a Hollywood
legend, the story winds up making us want him to get out of the way so we can
learn more about the real star.
Still, Bell
is quite good; charming and sensitive, he even gets a chance to flex a few of
his “Billy Elliot” dancing muscles in a disarmingly intimate scene where Peter
and Gloria disco dance to “Boogie OogieOogie” in her apartment. The film attempts to add some
shading to his character — including a brief reference to Peter’s bisexuality —
but they don’t really go anywhere. We’re won over by his clear adoration of
Grahame, but it doesn’t alleviate the fact that he’s the less interesting
character by far.
Bening is terrific, delivering a wonderful,
delicately-textured performance. She plays Grahame with a kittenish appeal and
breathy, Betty Boop-esque voice. Finding the
vulnerability behind the glamorous facade, her Grahame is a woman who could be
insecure and occasionally needy, while desperate clinging to her dignity. She doesn’t look much like Grahame, which wouldn’t
ordinarily be an issue, but McGuigan occasionally
utilizes archival footage featuring the actress, and it ends up underlining the
differences between Bening’s performance and the real
person.
The film
looks lovely, photographed with rich, golden hues by Polish cinematographer UrszulaPontikos. The lightly
stylized production design from Eve Stewart is also striking, though McGuigan can’t resist attempting to beautify the period
spaces with some heightened and occasionally distracting CGI embellishments.
Two
marvelous performances from Bening and Bell do much
to elevate the sometimes tepid plot that surrounds them. Together, they make
“Film Stars Don’t Die in Liverpool” a bittersweet love story that’s about
nostalgia more than anything else, as it examines the lasting connection that
can tie two people together, even after their romantic relationship has long
since ended.
This article appears in Feb 14-20, 2018.
