Relative Values by Noel Coward at the Little Theatre in Leicester

 Alas, it was the final performance when I saw the play last night, so this blog post won't be of any use in plugging any future performance, but I thoroughly enjoyed myself.

It's fair to say, I think, that Noel Coward hasn't been fashionable in recent decades, but there comes a point where suffiiuent time has passed such that "dated" becomes "period". Such is the case with thisfairly late Noel Coward comedy on the little nuances of social class from 1951. It an enormously entertaining and very funny play, with wit reminiscent of Oscar Wilde, but also a fascinating glimpse into attitudes from the middle of the laast century, a time that suddenly feel a lot more distant than it did a couple of decades ago.,

The cast, of course, were superb, utterly inhabiting their parts while letting the wit shine through. The set desigh was also excellent, the entire play taking part within the confines of a single room.

Alas, I cannot plug this play. But, for those who live locally, I can certainly plug the venue. This is the third play I've seen there now, all of which were brilliant.

The Italian Job (1969)

"Tell Bridger this is a foreign job to help with this country's balance of payments..."

I'm beginning to be wary of going into a film with high expectations; it doesn't exactly enhance the experience. Take The Italian Job, a 1960s British classic, beloved of all the lads, but a film which I had somehow contrived, until last night, never to have properly seen all the way through- and I'm forty. I must have been blown away, right?

Only I wasn't, not really, Oh, it's good; the script by Troy Kennedy Martin, all those famous lines and iconic set pieces, national treasure Michael Caine's legendary performance, Noel Coward and, indeed the whole character of Bridger- an upper class Harry Grout who lords it over John Le Mesurier's prison governor; all these things are a joy to watch. Yet the film also seems to drag in places, and generally doesn't turn out to be as good as I was expecting. I wonder if I'd still feel that way, though, if not for those high expectations? I must confess that, Benny Hill's silly mugging aside, there's not much that's actually wrong with this film. Perhaps I just don't like heist movies all that much?

All the same, it's brilliantly shot on location in Turin, and the ambiguous ending is pure genius. If only the whole film was as good as its most famous scenes, but I really don't mean to imply that The Italian Job is any less than very, very good.