Film review: The Best Exotic Marigold Hotel

Best Exotic Marigold Hotel? Worst Exotic Marigold Hotel, more like.

That’s about the standard of the jokes throughout this film (with perhaps ten surprisingly very funny exceptions). Imagine it delivered with the flatness of a sheet of paper, tempered between set-up and punchline by a languorous pause during which the editor might as well run into the cinema, attempting to tickle random members of the audience with camp condescension and leering, “waaaaaiiiiiit foooor iiiiiit!”

This just about sums it up.

But you are waiting for it. You saw it coming, it would seem, long before the writers themselves. Had you been in a position to do so, you would have raised your hand and said with quiet solemnity, “No. That’s not funny.” I implore you, if you’re invited to see this film, to do precisely that.

Please don’t mistake me for the kind of person who enters a film such as The Best Exotic Marigold Hotel expecting a great cinematic achievement; don’t think that I’m merely a dusty high-brow cineaste for whom only the severest of standards will suffice. I was prepared for a simple, heartwarming, predictable tale of loveable Brits learning life lessons in a colourful setting. This film manages to defy the very lowest of expectations (and be assured, in case you have somehow misjudged the tone of the review so far, it does not defy them felicitously). I’m generally loathe to make sweeping claims containing “most” or “worst” or “wittiest” ever, but The Best Exotic Marigold Hotel warrants it; it is unequivocally one of the most ill-judged comedies or dramas I have ever seen. It’s like watching a flailing first-time stand-up fluff all the punchlines to a series of old knock-knock jokes – but worse because you know that, had they really tried, they could have been a blazing success.

Because there is potential and talent here. It would have been wonderful to see a charming, well-written, well-paced film about elderly people. Three of the seven (yes, seven) central characters are played with respectable skill and patience, by Judi Dench, Bill Nighy and Tom Wilkinson. None of them are given much to work with – every character in the film is wafer thin – but these three manage to be, respectively, graceful, charming and touching. It’s a shame that one of the side-effects of their admirable performances is to draw more attention to the one-dimensinonality of the rest of the cast, from the four remaining retirees who just shout (Penelope Wilton), look startled (Maggie Smith) and gurn (Celia Imrie and Ronald Pickup, who, for no reason I can discern, play the same character), to the hotel owner and his acquaintances, who are determined to extract drama from the most mundane situations. “My feelings for you are too great for one word,” says Dev Patel’s character, simply so he can have a denouement when he finally dose profess his love. I don’t mind that everyone saw it coming, but I mind that it’s not remotely interesting.

Gosh, that paragraph went in too many directions at once, didn’t it? I struggled to refrain from dumping all the criticisms I wanted to make into one overlong, ugly sentence. But perhaps it was naïve of me to think that I could deal with seven-plus characters and their various plots and narrative arcs all at once. Yes, perhaps that was a poor writing decision on my part. I was in danger of undermining all my points by dedicating so little time and attention to any single one of them that, not only did they not have time to grow, but I felt inclined to resort to cheap clichés and lazy stereotypes just to muddle through to the end of it, and losing your interest along the way because you couldn’t possibly care about such hastily and poorly-written characters.

The preceding paragraph, by the way, represents the single, cloying, totally misplaced visual metaphor (a slow motion bird flying away to represent the release of death) that suddenly appears in the middle of The Best Exotic Marigold Hotel, accidentally highlighting how devoid of craftsmanship every element of every other moment of the film is.

For the sake of my blood pressure, which I feel rising at the mere prospect of writing more about how dismal this film is, I shall quickly summarise its flaws in bullet points and examples.

Lazy, clogged up writing:

  • One of the seven supposedly central characters (Imrie’s gurner) isn’t even granted an ending to her story.
  • Nighy makes a clunky segue from a perfectly good line to a completely irrelevant one in order to give Dench an opportunity to bed in some exposition.

Poorly-judged/-timed/-written jokes:

  • Wilkinson bumps into Dench one night and asks quizically during an otherwise serious scene, “can I show you something”? A few audience members titter, unsure whether this is a bad, poorly-timed double entendre or a bad, poorly-timed unintentional double entendre.
  • “I’ll give you your money back,” says Patel. “Right now?” asks Wilton. WaitForItBeat. “Right now. In three months.” says Patel. It’s hilarious.

Pointless subplots:

  • Patel’s hotel manager has to save the hotel from closure, convince his mother to accept his girlfriend for who she is, and tell the same girlfriend he loves her. None of these have anything to do with the main characters. None of them are interesting.

Characters stating clearly and eloquently what they’ve just learned:

  • Honestly, the actors might as well have just turned to the camera and told the audience the moral. Oh wait –

Infuriating cod-moralism:

  • Dench is forced to narrate with endless monotonous proverbs that sound like someone entered the closing words of various episodes of Sex and the City into Google Translate and selected the language “dull”. These lessons, like the film (which is at least 30 minutes too long) never seem to end.

Endless clichés:

  • Potential partners Nighy and Dench find themselves in an awkward tight embrace after a near-miss road accident.
  • A young lover’s difficult mother finds her heart suddenly opened by a perplexing reminder of her own (never-before-mentioned) past.
  • An old woman learns the Important Life Lesson™ that racism is wrong because, I don’t know exactly, an Indian woman gives her some Branston Pickle, or something.

“Words fail me,” croaks Smith during one of the film’s few clever exchanges, when asked to detail what she likes about the Best Exotic Marigold Hotel. I can think of three – Dench, Nighy and Wilkinson – but their performances can do little to save this otherwise dreadful, dreadful clunker of a film. What do I like about The Best Exotic Marigold Hotel? Maggie, I’m with you.


4 thoughts on “Film review: The Best Exotic Marigold Hotel

  1. I think you are enitrely wrong in your criticisms of this film. I would like to know how old you are, you are obviously quite young and do not understand that older people do have a different sense of humour to you. I have been trying to find out what the last line that was said in this film was, as one of my fiends found it particularly helpful to her in what she is going through at the moment. I cannot find it perhaps you can help me as you seem to be so critical of a film that I felt was so well acted, funny and awe inspiring.

    • Thanks for your comments Valerie (though they were a touch patronising in places!). I’m glad you enjoyed the film, and glad that your friend found it helpful. I’m afraid I can’t remember what the last line was.

      I realise that different demographics may have broadly different senses of humour. I can only represent the film as I experienced it. If lots of older people enjoyed it, that’s wonderful, but I stand by my criticisms, just as I would stand by criticisms of The Hangover thought it’s aimed at laddish, sexist teenage boys, or Transformers though it’s aimed at hyperactive children, of which audiences neither represents me.

      As you’ll have read in the review, I also thought the film was well-acted, by some, and very occasionally funny. I hope, and think, my criticisms are well-explained and backed up by clear examples.

  2. Pingback: Searches that led to my blog: winter 2012 | Al Online

  3. Al, I completely agree with your review. Sadly the only way one could find entertainment in this unfortunate film is if one had not seen many films before or experience much in the way of challenging drama. It perfectly would suit those people who presume that ‘Midsummer Murders’ is a cutting edge detective show populated by gritty realistic characters or that ‘Terry & June’ was the pinnacle of British TV comedy. Age is irelevant, I know well executed humour when i see it even if it’s not my personal preference and this was NOT well executed. For example the joke with the punchline of ‘If she dies, she dies’ has been used many times in various productions and is tired and cliched. You can’t even argue that the character was employing it in that context with a wry smile because the delivery and pacing indicated that it was intended to be a full on comedic punchline.
    In summary, this was overly cosy, overly safe (yes really, ZERO edge and it needed it), overly predictable (we saw every character arc coming from FAR away), politically suspect (some of ‘Mind your Language’ had more accurate portrayals of Indians than this attempt) and about as intellectually challenging as ‘The Generation Game’!


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