For his latest film role, in a strange, darkly comedic British film called Venus, screen legend Peter O'Toole might just win that final, dubious honor that has eluded him for his entire four-decade career—an Academy Award. To say that the former Lawrence of Arabia turns in a tantalizing performance, though, is to state the obvious and to sell the man a bit short. It isn't merely a great performance—it's a performance that literally no one else could have given. The thought of someone else filling his shoes here is just as impossible to fathom as the thought of someone else crossing the desert with Omar Sherif all those years ago.

O'Toole's Maurice is an aged actor—a bit frail, but still employable—who has attained some degree of celebrity in his native Britain, thanks to a career of memorable performances on stage and screen. It might sound suspiciously like typecasting, and indeed, it appeals to O'Toole's natural charisma and grace, his mischievous sense of humor and his bona fide movie star glamour. But he's not just playing himself here—the particular brand of mischief that Maurice gets himself into makes this one of the boldest roles O'Toole's ever taken on.

Peter O'Toole as Maurice

Peter O'Toole as Maurice

It all starts when Maurice, paying a visit to his old acting buddy Ian (Leslie Phillips, hilariously gruff and cantankerous), discovers that his rickety friend is expecting a long-term houseguest—his niece's daughter, Jessie (Jodie Whittaker, a compelling newcomer). Ian seems to think Jessie is coming to serve as his nurse, and he relishes the prospect of reading Shakespeare with her and enjoying the delicious halibut dinners she is sure to fix him. He even buys a little bell, so as to summon her whenever he's in need.

When Maurice returns a few days later, however, he finds his old friend in a state of panic. His plans for Jessie haven't quite come to fruition, it would seem—not only is she unable to cook a piece of fish, but her chief concerns seem to be watching TV and drinking all of her Uncle Ian's fine Scotch. She is curt and unmannerly, and barely acknowledges Ian and Maurice at all.

Maurice and his friend Ian (Leslie Phillips) raise a glass

Maurice and his friend Ian (Leslie Phillips) raise a glass

Ian is clearly distraught, and so Maurice— renowned for his way with the ladies—offers to take the vulgar girl off his hands. He takes her shopping, buys her jewelry, invites her to dine with him, lets her tag along as he goes to the set of a TV show he's doing, and even gets her a job as an art model. What begins as a friendly, flirtatious relationship, however, slowly blossoms into something with a bit more of an ewwwwww factor—while it's hardly a full-fledged romance, seventy-something Maurice clearly becomes a bit enamored with twenty-something Jessie, and she in turn begins to fancy him.

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Many moviegoers will doubtless lose any interest in the film right here—a romance with such an extreme age difference is one thing that many audiences simply can't stomach. This isn't a squeamish, May-December romance story, however—not unlike the central relationship in Lost in Translation, there's some degree of ambiguity here. It's difficult to tell exactly what the nature of this relationship is, and, as the film continually meditates on the nature of age and beauty, it at times seems as though the bond between the two has more to do with aesthetics than actual romance. And indeed, the wisdom that Maurice imparts to his young friend—and the youthfulness that she brings to his life—is nothing if not noble.

Jessie (Jodie Whittaker) brings some zest into Maurice's life

Jessie (Jodie Whittaker) brings some zest into Maurice's life

Still, Jessie is a flirt and Maurice a womanizer, and there's no denying that their relationship is somewhat suggestive. Though Maurice's health—prostate problems have rendered him impotent—means there's no way the two can sleep together, Jessie teases him shamelessly, allowing him to kiss her shoulder (and stipulating that he's not allowed to slobber). Then things become even more complicated (and creepy) when Maurice catches Jessie and her more age-appropriate suitor sleeping together in his bed.

It's at once compelling and frustrating to watch the two characters advance in their obvious care for one another; it makes for a frequently spellbinding film, but also a somewhat obtuse one. There are a number of directions in which filmmaker Roger Michell (Notting Hill) could have taken the story, and he seems to have settled on all of them. There are scattered moments of insight into aging, the nature of art and beauty, the importance of selflessness in a relationship, trust, and the meaning of life, but it never quite adds up to anything truly inspiring or challenging; at the end of the film, it's difficult to say what exactly it all means.

Vanessa Redgrave is terrific as Maurice's ex-wife

Vanessa Redgrave is terrific as Maurice's ex-wife

That's largely due to some underdeveloped plot points. Early in the film we meet Maurice's ex-wife, played by a terrific Vanessa Redgrave, and their strangely playful, compassionate relationship initially seems to be at least as interesting as the one between Maurice and Jessie. And then we lose track of the ex-wife for most of the film; she ultimately turns into more of a plot device than a real character. Similarly, there are a few telling moments when Maurice explains his philosophy of life—he lives to receive pleasure and to give some of it back to others—and later reminisces about what such a worldview may have cost him, but these themes aren't mined nearly enough to make for something meaningful.

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The theme that's most adequately explored is that of impending mortality, and this is approached mostly through dark humor. There are moments between Maurice and Ian and between Maurice and his ex-wife that deftly mix humor and sadness—for example, Maurice takes a minor part in a film playing a corpse, and his friends joke that he has been typecast. Michell and his actors bring humor and compassion to the process of aging, and it gives the film some of its most powerful and memorable moments.

In the end, though, it all comes back to O'Toole. His supporting cast is uniformly stellar, but it's his luminous presence, his grace and dignity, his humor and his gravity, that holds the film together and sometimes elevates it to greatness. In a movie about beauty, art, and aging with dignity, O'Toole seems to encapsulate, even radiate all these themes; even when the script grows a bit muddled, O'Toole's expressions are powerfully and painfully clear.

Talk About It

Discussion starters
  1. What exactly is the nature of the relationship between Maurice and Jessie? Is it romantic or sexual? In what ways is it appropriate? Inappropriate? In what ways does each character benefit from the relationship? In what ways does it harm them?
  2. Discuss Maurice's philosophy of life. How does it manifest itself in the way he treats others? Do you think it's a satisfying philosophy?
  3. Discuss Maurice's relationship with his ex-wife. What does it reveal about his character and his history?
  4. What perspective does the film take toward aging?
  5. What does the film suggest about the nature of beauty? Of art?

The Family Corner

For parents to consider

Venus is rated R for quite a bit of harsh language, including many misuses of the Lord's name, crude sexual dialogue, and numerous four-letter words. There is some frank discussion of sexual matters, and, while there are no explicit portrayals of sex, there are some suggestive moments of a couple in bed together and a man groping a woman. There are also a couple of scenes of brief female nudity.

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What Other Critics Are Saying

compiled by Jeffrey Overstreet
from Film Forum, 01/11/07

After receiving a lifetime achievement award at the Oscars, Peter O'Toole shows no sign of surrender. Playing the role of Maurice in Venus, an aging actor who develops an amorous attachment to his friend's grandniece Jesse (Jodie Whittaker), O'Toole is endearingly mischievous and flirtatious. The result is the most unlikely big screen romance since Lost in Translation … and most likely another Oscar nomination for O'Toole.

Harry Forbes (Catholic News Service) says, "On the plus side, writer Hanif Kureishi's screenplay—directed by Roger Michell—has a number of positive aspects and more than a few tender moments. And as you might expect, there are accomplished performances by a fine English cast. … Still, despite an ending involving forgiveness and redemption, the fetishistic nature of the central relationship … the high quotient of bad language … and overall grubby milieu regrettably push the film into the objectionable category."

Mainstream critics, meanwhile, are singing the praises of Peter O'Toole, even if they aren't quite so enthusiastic about the movie as a whole.

from Film Forum, 01/18/07

Mike Smith (Past the Popcorn) says "Venus is an arthouse film, filled with dark humor that may or may not play well in Peoria. Despite great characters and one of the best displays of acting by seasoned actors since On Golden Pond, the story is too dark and obscure. It is heavy and irresolute—another case of art being too sophisticated for its own good."

Venus
Our Rating
3 Stars - Good
Average Rating
 
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Mpaa Rating
R (for language, some sexual content, and brief nudity)
Genre
Directed By
Roger Michell
Run Time
1 hour 35 minutes
Cast
Peter O'Toole, Jodie Whittaker, Leslie Phillips
Theatre Release
February 16, 2007 by Miramax
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