Starring Steve Coogan, Anna Friel, Imogen Poots, Tasmin Egerton and directed by Michael Winterbottom.
The life and lays of Paul Raymond, King of Soho, bad husband, bad, but loving (if you were his daughter), father and excellent realtor.
Some men claim to be leg men, others love a good bum, but I have a thing for breasts, I love them! Which means I loved this film, if only for the sheer volume of naked breasts on display, not a single scene went by without some and for that this film gets a solid 10/10
However, if you want a non-breast bias review then read on.
This is a rather sobering, and sad film which portrays Raymond as a lonely man, seemingly lost in a world where he could have, and did, everything and everyone he wanted.
Normally these types of bio-pic portray men, who have everything, spiraling out of control into an abyss of drugs, sex and alcohol, but not so with Raymond who never seems to spiral anywhere except into bed with another group of eager and willing young women. Seemingly able to control his drug taking to sensible amounts of cocaine and champagne, Raymond's only other vices were an addiction to buying up properties, putting on racy shows farces, protecting his daughter from everything except drugs and publishing a string of hugely successful pornographic magazines.
Following Raymond from the 1950s up to the death of his daughter in 1992 The Look of Love is told in flashback form, with Raymond returning from his daughter's funeral to watch a documentary interview with him and her. Along the way we watch his marriage to Jean Bradley, played by Anna Friel collapse and his relationship Fiona Richmond, Tasmin Egerton take over, while he puts on saucy-nudie review shows, over -indulges his daughter, Imogen Poots, drinks champagne, takes drugs, publishes porno mags, name drops Ringo Star and reminds people he used to be called Geoffrey Anthony Quinn. And that's about it.
While the film remains interesting, the period detail is lovely, it never really engages and you never really connect with Raymond as a character. And it's difficult to know why. Steve Coogan creates a believable Raymond, much in the way he did with Tony Wilson and he never slips into parody or comedy to play the role. Perhaps it's because Raymond never really did anything other than shag, buy property and keep his beloved daughter gainfully employed?
Overall this film is a bit like a wank, great fun while it's happening but you're left feeling pretty empty once it's over, especially if you've done it right.