2017 Directed by Paul McGuigan
Liverpool, 1978: What starts as a vibrant affair between a legendary femme-fatale, the eccentric Academy Award-winning actress Gloria Grahame, and her young lover, British actor Peter Turner, quickly grows into a deeper relationship, with Turner being the person Gloria turns to for comfort.
Annette Bening Jamie Bell Julie Walters Stephen Graham Kenneth Cranham Leanne Best Vanessa Redgrave Frances Barber James Bloor Tom Brittney Isabella Laughland Suzanne Bertish Joey Batey Jay Villiers Michael Billington Peter Turner Tim Ahern Joanna Brookes David Decio Rick Bacon Pete Lee-Wilson Ify Mbaeliachi Vaslov Goom Paul Dallison Bentley Kalu Gino Picciano Adam Lazarus Luana Di Pasquale Gemma Oaten Show All…
Richard Pryke Peter Burgis Derek Trigg Linda Brenon Jason Swanscott Brendan Nicholson John Midgley Paul Davies Ian Morgan Jemma Riley-Tolch
Julie Atkins Naomi Donne Norma Webb Laura Viana da Silva Doone Forsyth Sarah Alice Hoyle Nadine Keiser
필름 스타스 돈 다이 인 리버풀, Filmstjerner dør ikke i Liverpool, Филмовите звезди не умират в Ливърпул, Yıldızlar Asla Ölmez, Кинозвезды не умирают, Τα Αστέρια Δεν Πεθαίνουν Στο Λίβερπουλ, As Estrelas Não Morrem em Liverpool, 필름스타 인 리버풀, כוכבים חיים לנצח, 影星永驻利物浦, Las estrellas de cine no mueren en Liverpool, Estrelas de Cinema Nunca Morrem, Filmové hvězdy neumírají v Liverpoolu, Filmu zvaigznes nemirst Liverpūlē, 最後相愛的日子, A sztárok nem Liverpoolban halnak meg, Gwiazdy nie umierają w Liverpoolu, Les estrelles de cinema no moren a Liverpool, Las estrellas de cine nunca mueren, Le stelle non si spengono a Liverpool, Kino žvaigždės Liverpulyje nemiršta, კინოვარსკვლავები ლივერპულში არ კვდებიან, Кінозірки не вмирають у Ліверпулі
USA
Telluride Film Festival
UK15
Greece
Netherlands6
Turkey
Brazil
Spain12
France
Netherlands6
Germany6
Brazil
France
Germany
Greece
Netherlands
Spain
Turkey
UK
USA
Why is this not a serious Oscar contender? Bening and Bell are both brilliant, and some clever writing and directing elevates this well above a standard biopic. The interweaving of past and present is done excellently and through some very exciting symbolic transitions. The visuals straddle the fine line between reality and Hollywood glamour in such a compelling way. Film Stars is simultaneously a grounded character drama and a larger portrait of changing times in the industry. I wasn't particularly interested in the premise itself, but I do think this was a wonderful execution of it. It made me smile and it made me cry, and it never felt like it was trying too hard to do so. Does it have some scenes that don't work? Sure, but they never weighed the overall picture down. I'm shocked this isn't getting more attention.
Rating: 73/100
Film Stars Don’t Die In Liverpool is a good old-fashioned & predictable weepy about the emotional pitfalls of falling in love with a former diva in her twilight years.
Rife with terminal illness, a clandestine tryst, and tragic withholdings, this maudlin adaptation of Peter Turner’s memoirs is a veritable downer: recounting the last lachrymose years of Gloria Graham’s life as she fades from the limelight of Tinseltown and privately succumbs to cancer.
Jamie Bell plays Peter Turner as a level-headed lush: proving once again that he is an absolute maestro and natural ventriloquist when it comes to tugging heartstrings. Meanwhile—exuding a cocktail of coyness, capriciousness, and regality—Annette Bening delicately captures both the ditziness and gravitas of Gloria Grahame’s glamorously giddy personality.…
The public can’t seem to resist stories about the private lives of movie stars. We’re fascinated by who these beautiful flickering gods might be off-screen, and that fascination is exacerbated a thousand times over by the fact that these beautiful flickering gods don’t want us to know. It’s a recipe for infatuation and disaster. It’s also a recipe for some very bad movies. The truth may be stranger than fiction, but it’s awful hard to bridge the gap between the two.
“Film Stars Don’t Die in Liverpool” is a tawdrier, more tragic, but similarly superficial “My Week with Marilyn,” devoted to the dying days of an actress who always lived in Monroe’s voluptuous shadow. By the time it ends, that darkness has grown so complete that it’s hard to tell whose story we’re even watching.
Congratulations to Jamie Bell for seamlessly transitioning from twink to hunk in a matter of minutes.
Annette Bening evokes Gloria Grahame. The hair, the corners of her mouth, her voice ever so slightly raised in pitch (to match her voice without being obnoxious).
Jamie Bell is a good actor, but maybe he was cast for his talent as a dancer as well (we get some disco-era-style dancing!).
Well, it's pretty good overall.
Health note: Gloria takes several measures to deal with her illness including getting apricot pits at a health food store, but she continues to smoke and requests (vegan alert) milk even though those things were detrimental to her health.
Other vegan alert: Gloria Grahame (Bening) wears a fur coat while going down the stairs at the end.
This is the 120th film I've seen using Movie Pass.
A movie that exhibits a lot of kindness and consideration for its subjects. Annette and Jamie are good even if the script does them a disservice. A goodhearted, warm studio film that does the job just fine.
Now this is a film I’ve been anticipating for a long time. Not just because it’s set in my beautiful home city of Liverpool, but the story itself sounded so intriguing: a relationship between a Hollywood film star and a working-class local lad half her age.
The entire cast is fantastic. Even the Scouse accents from the non-Scousers are well performed. The film, for the most part, is a two-hander and Jamie Bell and Annette Bening give stellar performances as lovers Peter Turner and Gloria Grahame. It can’t be easy to realistically portray a relationship with a much older person without it seeming artificial, but the film presents the relationship in a non-judgemental way and Bell’s and Bening’s performances are…
Sometimes it just takes a small detail early on in a film to get you fully on its side before the film's even properly begun. Here, it's the way Jamie Bell splays his hand across Annette Bening's back. It comes across as completely natural and believable - a desiring, supportive and protective hand. The film has a really authentic feel, not just because of Bell and Bening. The way this film uses editing jumps to reflect how memories fragment reality really urges you on to get invested as a viewer.
There's a lot in the film that doesn't work: the storyline is riddled with clichés, the music is overbearing and there's terribly clunky exposition all over the first act of…
i fancy jamie bell 😻…criminally underrated as an actor; man can fucking cry 😿
julie walters again?! how funny (just watched billy elliot ——👇——)
i cried AGAIN?! how NOT funny
(cool to find out at the end that gloria grahame was a real person)
