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Ray Carney's The Films of Mike Leigh is quite simply the best book of film criticism I have ever read.

Now I have to say that I have never read any of Carney's other books (he has also written books on Cassavetes, Frank Capra, and Carl Dreyer), which, for all I know, might be even better. But as a friend of mine put it, 'His writing blows everything else out there away, even to the point of many times seeming like simply in a class of his own...different in kind more than degree.' And although I admit to not having read 'everything else out there,' I feel the exact same way. Ray Carney's new book has undeniably rocked my world.

Ray Carney's book is to what usually passes for film criticism what Mike Leigh's movies are to what, in Hollywood, usually passes for filmmaking: a truly radical critique, a whole different animal, and a solitary voice of sanity that has somehow miraculously managed to make itself heard over the noise and hullabaloo of this culture's present-day insanity.

 

–Caveh Zahedi, creator of A Little Stiff and I Don't Hate Las Vegas Anymore,
in a review in Filmmaker Magazine

 
 

Mike Leigh’s work is difficult to pin down. Echoing what Ray Carney says of Leigh’s more blinkered characters, examining these films becomes a lot murkier when you bring too many ideas and film-critical categories to bear. Although not without its strengths and serendipities, Garry Watson’s book suffers from intellectual larding while, like one of Leigh’s more far-sighted characters, Carney and Quart’s gets in amongst the rough-and-tumble....

The Carney and Quart book was the first critical study of Leigh’s work and every subsequent book on Leigh must negotiate its rigor and insight. I have yet to read a book that better approximates my experience of watching Leigh’s films.My one regret is that, apart from the important BBC plays Nuts in May and Abigail’s Party (1977), I have yet to see many of the early works wherein Carney locates the wellspring of Leigh’s improvisatory power and vision.

Animating this study is a distinction between two types of Leigh characters that resonates culturally, politically and spiritually across his work. For Carney, there are those like Rupert and Laetitia Boothe-Braine in High Hopes (1988), Nicola in Life Is Sweet (1990), and Sebastian in Naked (1993) who, mired in a mental image of themselves, pigeon-hole others in prejudices, effectively foreclosing on generous and responsive solidarity. Then there are those like Cyril and Shirley in High Hopes, Wendy in Life Is Sweet, and Louise in Naked who have all the foibles, strengths, and self-doubts of their humanity, and are open to the flows of human interaction. Alison Steadman’s giggly and affectionate Wendy still epitomizes the principle of social cohesion in Leigh. It is perhaps unsurprising that Steadman and Leigh were married, while the positive response to the density of experience recalls the thick descriptive methodology through which a Leigh film is arrived at. Evoking the Dickensian and Lawrentian views of human sensibility (as Watson points out), Leigh feels that the individual mindset has consequences for the wider culture, and by this light the generous impulse in Wendy and other Leigh characters has been eroded by consumerism and social mobility in postwar Britain. Not as overtly political as Ken Loach, Leigh has nevertheless chronicled the domestic consequences of the decline of the social consensus imagined by writers from Dickens to George Orwell.

One of the most unexpected aspects of Carney and Quart’s book is the way it puts mainstream American cinema in perspective by comparing it with Leigh’s cinema.With his focus on characters as mannered and tic-ridden “outsides” (as opposed to Hollywood’s granting us access to Forrest Gump’s inner kindness despite the goofy exterior), Leigh charts that elusive quality, the “ordinary” moment—the everyday drama of interaction they never show in Hollywood because it occurs between the heroics.

In doing so, Carney shows, Leigh pulls apart the Enlightenment model of agency and volition on which most American movies depend. Recalling classes he has taught—he is Director of Film Studies at Boston University—Carney describes how Americans are often perplexed by a cinema in which nothing seems to happen. But Leigh’s drama of transformation is rooted in the layered rehearsal of interpersonal dynamics observed with the patience of a European Ozu. Whilst British Leigh commentators have been preoccupied with the writer-director’s purchase on the sociological landscape, Carney convinces us that Leigh and Ozu share a feeling for the interplay of performance and mise-en-scène which moves beyond David Bordwell’s pioneering Ozu dichotomy between modernism and tradition. Leigh’s conception of experience (unlike that of Hollywood) is durational rather than deadlined, heterogeneous rather than hurried. Carney’s examination of space and time in Leigh reveals, as Bordwell has done elsewhere, that the mainstream model of experience conceals as much as it reveals....

 
–excerpted from: Richard Armstrong, a review of Gary Watson, The Cinema of Mike Leigh and Ray Carney and Leonard Quart, The Films of Mike Leigh: Embracing the World, published in Film Quarterly, Dec 2005, Vol. 59, No. 2, pp. 62-63

Ray Carney, The Films of Mike Leigh: Embracing the World (New York and Cambridge: Cambridge University Press, 2000), 13 illustrations, paperback, 290 pages. This book is available directly from the author for $20.

Mike Leigh is a maverick British independent who, for nearly 30 years, has been producing eccentric, unique, and almost uncategorizable works. Though his career dates back to 1971, with a film called Bleak Moments, Leigh has worked in obscurity for most of that time, coming to the attention of an international audience only with his recent productions of Naked, Secrets and Lies, Career Girls, and Topsy-Turvy.

Working in a similar way to that of Robert Altman, John Cassavetes, and Tom Noonan, Leigh begins with a small group of actors around whom he builds his films during months of private rehearsal. There is no script at the start. It is written as he goes along.

The films–which include Abigailís Party, Meantime, Home Sweet Home, High Hopes, and Life is Sweet–are brilliant, outrageous, iconoclastic–and hilarious. Leigh's work has been both ridiculed by some and celebrated by others as among the greatest filmmaking of the twentieth century.

This study argues, among other things, that part of the misunderstanding of Leigh's work has been the result of misclassifying him as a British "realist" in the tradition of Osborne and Loach, when in fact his films are far stranger and more artistically daring. The Films of Mike Leigh: Embracing the World makes the case for regarding Leigh as one of the great artists of the century.

This is the first comprehensive critical appreciation of Leigh's work ever written, and it offers insights not only into this unusual filmmaker's strange and often baffling movies, but into film itself as a way of knowing and understanding the world. This book offers nothing less than a radically new way of understanding both life and art.

* * *

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