Film, Partisan Cinema, Writing

Partisan Christmas Cinema: LOVE ACTUALLY (2003) – A Fairytale in Downing St

In a recurring feature called Partisan Cinema, A. J. Black looks at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…

It would be fair to say that Richard Curtis’ crowd pleaser Love Actually is not hard hitting political discourse, but one of its central plot threads does warrant closer examination.

Curtis’ film is a loose-knit, Altman-esque character piece under the central umbrella of ‘love’, mostly involving Curtis’ traditional retinue of cloyingly middle class Londoners living in a fantasy version of Britain’s capital where everyone has money, time to navel-gaze, and doesn’t worry about laws such as breaching airport security gates and things like that. It is, simply, a load of sickeningly twee nonsense inflated, bizarrely, into some kind of totemic Christmas film that only humbugs suggest might not just be rubbish, but also contain numerous creepy plots and almost sociopathic characters.

You only have to look at Andrew Lincoln wooing Keira Knightley with cue cards on the doorstep of the house she shares not only with her boyfriend, but his best friend.

Leaving that aside, there is one plot line in Love Actually that bears looking at, given outside of Emma Thompson’s genuinely moving performance as the wife of a cheater, it probably stands as the only thread in the film that is easy to stomach: the romance between Hugh Grant’s incumbent British Prime Minister and Martine McCutcheon’s cockney Downing Street tea girl. There is a charm about their characters that belies the rest of the film, even if it bears almost zero reality with anything else in British politics, bar the thinnest of tangential nods and winks to both the Blairite and Bush eras – fitting as the film was made and is set during their tenures, and at the point tensions were fraying.

Love Actually might here be political fantasy, but it has one foot in post-9/11 reality.
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