The Look of Love

Michael Winterbottom is one of my favourite directors. He makes interesting films, they may not always be the most commercial, and The Look Of Love, will I suspect have a wider appeal than say Welcome To Sarayevo but his films are always interesting and engaging, so long may he continue to make them.

Suffice to say the plot is a rags to riches tail, followed by a fall from grace, what makes this story different is that people who follow such a path don't always drag their children with them, here unfortunately that was the case. A cautious tale of morality the film spans several decades following the life of Porn Baron Paul Raymond, who went on to own Men Only and a string of other magazines, shops and clubs in Soho. I actually met him and his daughter once, though I don't think I knew who they were at the time.

Raymond (Played with appropriate gusto and restrained measure by Steve Coogan, at his best) and his daughter (Imogen Poots, outstanding) were ultimately damaging for each other as shown her. Yes Raymond wasn't the best father he could have been, but once adult his daughter Debbie was an equally bad influence on him. Coke is king in this story, and I am not talking about the type from a can that comes in red. As they both struggle with their own addictions, their worlds clash and full out of control.

While Raymond, may have been to many simply a shrewd businessman and not all that likable, Winterbottom and Coogan do well her to give him a balanced portrayal - Clearly a doting father and a generous man to those around him who were his friends Raymond is at least seen as human, though the cold and callous way in which in dealt with his estranged son was awful and brought home difficult memories for me. This is not just a tale about a man who made his fortune in erotica and porn. It's story of a grieving father who failed to heed the warning signs he was given and steer his daughter back on the right path, and ultimately paid the price.

James Lance plays Raymond's long time lawyer friend in a rather two dimensional role and does well to put meat on the bone and other appearances from a number of comic and acting talents from the UK fill out every role possible.

Production design here is first rate, with the Soho of the 1970s and 1980s which (the latter) I remember all too well recreated superbly and the lavish flat of Raymonds can well be believed, designed as he loves to tell all who will listen by Ringo Star.

Like many who rise to the top, Raymond was ultimately a tortured soul, who found it impossible to stay in one relationship and tragically lost the people he loved the most. It is not surprising that he became a recluse and died very much alone.

Still despite the tragedy in his life, you cannot say he didn't live it to the full.

A very enjoyable two hours of my time and a great role for Coogan. Adwards surely here must go though, to Imogen Poots, her performance is pitch perfect as the rich kid who was not immune to her own insecurities and struggled to find happiness. Hopefully they are now both united again in a better place.

Steve Coogan was turned down for the lead in The Life and Death of Peter Sellers, losing out to Geoffrey Rush, and I get the feeling this is his attempts to compensate. It is a biopic with a retro look, encompassing the same era and focused on an oft unsympathetic individual who goes on to neglect his wife and kids.

The problem is that Sellers was a man of a hundred faces while Paul Raymond seems to have none, he always came across as a deeply uncharismatic, grey little man so instead Coogan pastes his own TV persona onto him. It's not quite Partridge, but we've seen it before in 24 Hour Party People and in things like Tristram Shandy and The Trip, where Coogan plays an unflattering version of himself - sort of narcissistic, insecure, a bit sarcastic and witty, not without flair.

I didn't mind this in the Tony Wilson biopic, largely because that was played for laughs and also looked outwards to the whole Manchester music scene, but I did mind it here. We really have no clearer idea of Raymond's personality at the end of it - it maybe should have looked at the hangers on a bit more and the world of Soho generally. What's more, the pop music tends to date better than soft porn. For this to be a celebration of the Raymond Revue Bar, you'd have to contrast the buxom babes with the dour, pinched women of the era, starchy Margot Ledbetters and Margaret Thatchers, with hornrimmed spectacles and never a day in the gym. (Not saying the blokes looked much better back then to be fair. A quick look on Google Images reveals that the real Raymond was severely balding even by the mid 1960s, so must have sported a heavy hairpiece for his lothario years.)

Imogen Poots is poignant as his daughter, and they try to make out she's the same fit as newspaper proprietor Kane's wife, with similar ill-advised showbiz ambitions. Poots gets to sing the title track rather affectingly, the other song on a loop is Anyone Who Had a Heart, so maybe they were going to go with that title for the film at one point. But it's all very broadly written, and too much improvised it seems. Chris Addison impresses as one of the hangers- on, but I couldn't help thinking (due to his look in this) that we'd be better watching a history of Radio 1, with Addison as DLT and Coogan as the odious Jimmy Savile.

As for other stars, Stephen Fry plays a judge and is in this for less than a minute, David Walliams has a recurring cameo as a lecherous vicar, the sort of role that Terry Scott would have played, but is given no backstory or context to speak of, while Matt Lucas plays a stage character for all of 30 seconds. So don't be fooled by scrolling down the cast list, it's fairly slim pickings and at times it resembles those awful No Sex Please We're British movies of the day. You do get a fair bit of sex, with coke snorting atop many a bare breast, so it's not one to watch with the folks, but I can't say it's quite as erotic as I'd like, maybe because tastes have moved on since then.

this is a movie filled up with event and facts but no characters, no detail on characters' world, they are acting on the surface, the script is the problem, it should be worked into textures and layers of these colourful characters rather than just covered them with events and what's happen,

they could edit some scenes out which director just show what's happen but not take them further to a better storytelling; stories happened to build the characters so we viewers can sympathize with them. You don't feel for any of the characters here. it's such a shame. this movie has no angle to this special group of people.....

All the emotion is not quite there, never gets to the point and ends at the surfaces. the film wasted these casting since they can do more than what's in the film. We all know how well they can act for such a colourful Raymond's world.

I didn't know what to expect from The Look of Love. I like Steve Coogan so gave it a shot. In my opinion it's well worth a watch.

The film is a biopic about Paul Raymond played fantastically by Steve Coogan. For those unfamiliar, like I was before seeing TLOL, Paul Raymond was an entrepreneur who owned a lot of property and strip clubs in London and was at one point Britain's richest man. It's amazing how such a rich guy can go so unheard of, with people my age anyway, yet have such a big empire in London just years ago. S'pose they're not going to teach you about the strip clubs and nudey plays in second year history at school. It made for some really interesting watching.

And not because of the more or less constant boobs in case that's where your mind immediately went there. There is admittedly more graphic nudity in this film than I've ever seen in a film ever but because there is so much of it you kind of get used to it. The novelty of 'tee hee, boobies' fades away pretty quick to make way for a pretty fascinating life story.

My journalism lecturer always said there's nothing more interesting than writing about a famous person 'on the slide' out of fame and power and there's certainly a lot of 'sliding'here. He lives such an extravagant lifestyle with the drugs and ever changing woman you know it'll all catch up with him some day. The whole second half that looks at the unusual relationship between him and his spoilt daughter is pretty captivating. To give you a taste of what their relationship is like, there's a scene where Paul catches his daughter snorting coke. Instead of telling her off and getting angry he insists she mustn't just buy her drugs off the street and to only do the very best. It's a look into a life of excess and irresponsibility which makes for an intriguing watch.

There are a lot of British actors , mostly comedians, in the film.There's actually so many big British names it's almost distracting. There's Coogan obviously who naturally steals the show. But then there's cameos from Stephen Fry, Simon Bird, David Walliams, Matt Lucas, Dara O'Briain - the list goes on. All do a good job, even if some are only in it for a matter of seconds, but celebrities like Dara O'Briain don't really come across as fully fledged characters. It just takes you out the film for a few seconds and makes your brain announce 'oh look, it's him from Mock The Week'.

I don't like to talk about cinematography too much as I'm a complete novice but I could tell it's good here. Parts where they talk about Paul Raymond's men-only magazine feel like you're actually flicking through a 70s style dirty mag. The fashion of the time is very prominent with bright zig-zagging colours in his clubs and houses sucking you into the era nicely.

It might not be for everyone is a possible problem- 3 people walked out of our screen halfway through due to what I assume was it's increasing amount of graphic porn scenes. Similarly big action, life changing drama fans may feel a little underwhelmed. If you show a bit of interest and follow the relationship between Raymond and his daughter however you'll find this film to be a surprising little gem.

Charming, witty, intelligent. Had to have it all, but at what cost?

One is almost tempted to pronounce Paul Raymond's story as predictable. Rags to riches story, got corrupted and suffered the consequences. Yet there is something different about Paul Raymond, who came to London from Liverpool with nothing and reached the very top.

By different I don't mean just the fact that he was probably the first entrepreneur to acquire wealth almost exclusively from the "adult entertainment" industry but he founded it since his peak coincided with the beginning of secularisation of Britain and he introduced a very daring sort of entertainment in a highly puritanical society. Being spirited as he were, neither the criticisms or the bad press affected his stamina; he just marched on conquering bigger heights.

With the above in mind, it does not become too challenging to picture an audacious, notorious individual. Or so Steve Cogan aimed to have us believe. I could not envisage an actor better suited for the part. Ultra cool and a charmer, Steve Coogan was Paul Raymond. Mr Raymond was apparently so charming that his shared his extramarital bravados with his wife and for the 1950's (or so) this is spectacular.

The movie places us inside his life and we follow his ups and downs, although we soon become aware that he is a man in mourning. Perhaps a side effect of the poverty he came from, his no limits lifestyle and the way he indulged it to his beloved daughter obviously must have played a part.

It might go down as just another bio of a sale made man, but this film had an added dose of personality that undoubtedly mirrored its central character and the flamboyance he exhumed.

One of the better recent British films.