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Dining Dining Home Find a Restaurant. Everett is also a modern actor who seems genuinely at home in period material. A battle of wills disguised as a seduction, their duet plays out in a shadowy sitting room, with Moore enticing in a low-cut gown and Everett pressing close to her in white tie.
In a twist on the classic description of the Astaire-Rogers partnership, Everett brings both class and sex to the equation. He and Everett face off with gin-dry wit and wittily matching noses. While Jeremy Northam and Cate Blanchett as the Chilterns are relegated to roles that demand, respectively, pained nobility and luminous nobility, Minnie Driver as Mabel Chiltern gets to conduct a near-screwball Victorian courtship with Everett.
Algy races through the nocturnal streets of London under the opening titles, evading, we later learn, a posse of creditors.
Algy will later descend on the rural retreat of Jack Worthing by hot-air balloon — jettisoning a considerable cargo of dressing cases as ballast — dashing in wearing jodhpurs and leather and filling out the unusual contours of dandy as action man. In both films, Everett also gets to fill out the contours of some splendid costumes, which he inhabits with grace and flair.
For all his elegance, Everett can also carry off a gentlemanly goofiness in the Cary Grant mold. In some ways, too, Everett is a leading man in spite of his own seeming carelessness as an actor, a man whose naughty-aristo glamour can obscure a cultivated and skilled comedian. In the heyday of the great studios, Rupert Everett would have been David Niven or Rex Harrison, or at the very least Michael Rennie , an earlier British bundle of tall, dark and cheekboned whom Everett resembles.
In a time when so many actors are simply cell-phone snapshots, Rupert Everett is a golden-age Hurrell portrait. Gloriously artificial and artfully suave, he can seem a visitor from another cinematic era, one in which masculine style had an unapologetic polish.
It is so much more real than life. In many ways Everett is too English, too aristocratic, for lumpen proletariat American audiences. Which is fine with me.
It means the actor remains relatively untainted by the American celebrity system. Even more depressing to think that Hugh Grant might be considered the ideal cinematic Englishman. And I just recenlty watched both movies, so it was great to read a review that closely matches my opinion.
The dandy has been essentially the most interesting and ambitious phenomena of the nineteenth century. It was a sleek yet very human characterisation with wit. American and British female detective novels over the course of time. To find out more, including how to control cookies, see here: He craves for his love and apparently, affected by the need to find a legitimate inheritor of his properties he offers to give his name to his own son. Coming round a shop corner no less. The intellect is not a serious thing, and!