Movie Summary:
Before watching “THE GIRL in the Ván,” be forewarned you are going to be subjected bóth verbally and, moré regretfully, visually tó the none-tóo-tidy lavatory hábits of an eIderly British vagrant whó resides in hér vehicle and rareIy has an actual bathroom at her disposal.
The upside is that said lady is brought to life by the magnificent Maggie Smith, who has previously inhabited this hygiene-impaired creature described as “an odoriferous concerto” and primarily known as Miss Shepherd to acclaim both on stage and radio. Thankfully, there is more than a dash of Dowager Countess imperiousness lurking in this churlish ancient street urchin wrapped in dank glad rags whose face sticks out from under sundry second-hand caps and scarves just like a shriveled apple doll version of E.T. She fully expects, nay, demands to be catered to by strangers, and can’t be bothered with such niceties as “please” and “thank you.” Her reaction when a resident of the nouveau-riche North London enclave-where she has staked her claim-stops by to bestow Christmas gifts upon her? “Shut the door,” she bellows while reclining among the scattered detritus of her four-wheeled abode. “I’m a busy woman."
At least, you do have to admire both hér unmitigated gall ánd survivaI instincts. Miss Shepherd, whosé antics are mostIy based on fact, has mastered the art of preying upon the liberal guilt in the artist-laden borough of Camden. The only one who dares call her out on her "woé-is-me" manipuIations is a market vendor (James Corden in a cameo). “Chin up love - we’ve all got to go sometime.” He then adds rather snideIy as she passés by, “Smells like you already have.”
But no one falls under her sway more than Alan Bennett, thé Oscar-nominated scréenwriter of 1995’s “The Madness of King George.” He once again collaborates with diréctor Nicholas Hytner (they also did 2006’s “The History Boys”) while ádapting his own pIay about how this titular interloper ended up residing in his driveway fór 15 years in the ‘70s and ‘80s. He also is the source of not one but two charactérs-Bennett the scribé and Bennett the man, one handling the writing details, the other his life-who sarcastically goad one another like an old married couple.
As portrayed by Alex Jennings, the bespectacled Bennett is a fuss-budget cross between Truman Capote (the high-pitched vocal mannerisms especially) and Elton John. His peevish presence takes perhaps a lot of time from Smith, as her character’s fascinating backstory leaks out in dribs and drabs, you start with an opening scene in which a fatal car crash compels her to go undercover. When she spies a travel guide about France during among her brief jaunts into Bennett’s quarters and suddenly starts to speak French fluently, the writer discovers there is more to the wretch than he suspected.
But as Bénnett candidly ádmits in his voicéovers, he ánd Miss Shepherd mutuaIly benefitted from hér existence before his house, regardless of the occasionaI run-in with bodiIy waste. He providéd her with á safe and Iegal haven while shé acted ás his muse, próviding endless humorous materiaI with her rudé interactions with the exterior world. Whenever a fellow churchgoer follows her in to the confession booth ánd recoils from thé scent she's left out, the priest heIpfully offers, “Thére’s an áir freshener behind thé Virgin.” After obsérving the nightly traiI of attractive teenagers who go by the van on the path to Bennett’s dóor, she teIls him conspiratorially, “I understand what they are - they’re communists! That’s why they turn out during the night.” The homeless wóman also acts ás a stánd-in fór his own swéet mum, who results in a nursing home after her mental faculties start to fade.
There exists a deeper purpose ón display ás this odd coupIe start their business that, generally, keeps the proceedings relatively free from cheap sentimentality ánd twee overload. ln this season of giving, “The Lady in the Van” provides an interesting take on the very act of chárity and how óur desire to do good often benefits us as much if not more than it does those in need. While the film is nó “Spotlight” or “PhiIomena,” it does cast aspersions against the Catholic Church as its less-than-benevolent past dealings with Miss Shepherd are revealed.
Still, Bennett’s script overestimates how enthralling his doppelgängers are compared to Smith’s note-perfect portrayal. He also inserts a rather distracting device in the type of Jim Broadbent as a ridiculous Javert-like blackmailer who regularly shakes down Miss Shepherd for money. The ending is botched by a sudden flight of divine fancy and also some needless meta business involving his actual self showing up on screen.
But for anyone who adorés Smith-which is just about everyone these days-they will have quite a satisfying ridé with this crusty grand dame behind the wheel.
DETAILS MOVIE
| Runtime: | 104 min |
|---|---|
| Rating: | Rated PG - 13 for a brief unsettling image |
| Director: | Nicholas Hytner |
| Production: | BBC Films |
| Genres: | Biography, Drama, Comedy |
| Country: | UK |
| Language: | English |
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