The Look of Love ist ein biographischer Film über das Leben von Paul Raymond, gespielt von Steve Coogan, zu seiner Zeit einer der reichsten Männer in. Mit der `Devise Sex sells' hat sich Paul Raymond aus einfachsten Verhältnissen nach oben gearbeitet. In der Erotikbranche verdient er so viel Geld, dass ihm schließlich eine Reihe von Immobilien im Londoner Vergnügungsviertel Soho gehören. Sein. Film: The Look of Love - Bild1 · Film: The Look of Love - Bild2 · Film: The Look of Love - Bild3 · Film: The Look of Love - Bild4 · Film: The Look of Love - Bild5.

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Mit der `Devise Sex sells' hat sich Paul Raymond aus einfachsten Verhältnissen nach oben gearbeitet. In der Erotikbranche verdient er so viel Geld, dass ihm schließlich eine Reihe von Immobilien im Londoner Vergnügungsviertel Soho gehören. Sein. The Look of Love ist ein Film aus dem Jahr des Regisseurs Michael Winterbottom. Der Film hatte seine Premiere am Januar beim Sundance Film. Frauen, Sex, Table-Dance, ein Männermagazin namens Men Only — Paul Raymond (Steve Coogan) ist der Hugh Hefner Großbritanniens. Blickpunkt: Film. Vom Leben des "King of Soho" genannten Nachtclubbesitzer und Immobilienhai Paul Raymond inspiriertes Sittengemälde. Vierte. The Look of Love ist ein biographischer Film über das Leben von Paul Raymond, gespielt von Steve Coogan, zu seiner Zeit einer der reichsten Männer in. The Look of Love - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | workingtri21.eu In The Look of Love spielt Steve Coogan die Lebensgeschichte des legendären Londoner Porno-Barons und Immobilien-Millionärs Paul Raymond (

Blickpunkt: Film. Vom Leben des "King of Soho" genannten Nachtclubbesitzer und Immobilienhai Paul Raymond inspiriertes Sittengemälde. Vierte. The Look of Love ist ein biographischer Film über das Leben von Paul Raymond, gespielt von Steve Coogan, zu seiner Zeit einer der reichsten Männer in. The Look of Love ein Film von Michael Winterbottom mit Steve Coogan, Anna Friel. Inhaltsangabe: Paul Raymond (Steve Coogan) macht in den 70er Jahren mit.

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Om oss Villkor Ladda upp X Stäng. The Look of Love Följ Följer Sluta följ. Drama Komedi Storbritannien. Paul Raymond levde sitt liv som en playboy, men dog ensam.

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How did you buy your ticket? View All Photos Movie Info. Paul Raymond Steve Coogan builds a porn, entertainment and real estate empire that makes him the wealthiest man in Britain, but drugs doom his beloved daughter, Debbie Imogen Poots.

Michael Winterbottom. Matt Greenhalgh. Aug 26, Revolution Films, Baby Cow Productions. Steve Coogan Paul Raymond. Anna Friel Jean Raymond.

Tamsin Egerton Fiona Richmond. Imogen Poots Debbie Raymond. Chris Addison Tony Power. James Lance Carl Snitcher. Matthew Beard Howard Raymond.

David Walliams Vicar. Matt Lucas Divine. Stephen Fry Barrister. Michael Winterbottom Director. Matt Greenhalgh Screenwriter.

Jenny Borgars Executive Producer. Katherine Butler Executive Producer. Danny Perkins Executive Producer.

Melissa Parmenter Producer. Alice Dawson Producer. Josh Hyams Producer. Hubert Taczanowski Cinematographer. Jina Jay Casting. August 1, Rating: 2. July 12, Full Review….

July 11, Full Review…. July 8, Full Review…. July 5, Rating: 2. August 7, Full Review…. September 4, Full Review…. November 4, Full Review….

View All Critic Reviews Nov 17, When I reviewed Trishna around this time last year, I remarked upon the speed at which Michael Winterbottom works, commenting that he "has better films in him, and makes them quick enough to put this disappointment swiftly behind him.

What was a large problem with Trishna is now an even larger one with The Look of Love, which spends more time evading its central character than it does examining him.

I've long complained that biopics which attempt a grand sweep of a person's life almost always come up short. They don't all fail for the same reasons: The Life and Death of Peter Sellers structures its story in a way more suited for television; Gandhi is so overly respectful that it never lets us emotionally connect to the main character; and Shine starts off very well but eventually descends into melodrama.

In each case the films are guilty of biting off more than they can chew, hobbled by a surplus of events which leaves them as a pretty, wide horizon rather than a deep, rewarding dive.

The Look of Love is another biopic which suffers from this problem. It attempts to chronicle the life of publisher and club owner Paul Raymond from his humble beginnings on the lates variety circuit to the death of his daughter Debbie in Covering thirty years of a person's life is a tall order regardless of the person in question, but Winterbottom never seems entirely sure of what he is interested in, or more to the point why he is interested in it.

Films with a sexual subject matter have to be very clear about their intentions towards their audience. Many of the most celebrated films in this vein, such as Boogie Nights, Shame and Eyes Wide Shut, work very hard to turn their audience off, either by showing them some unrelenting underbelly to all the glamour ,or by telling their story in such a clinical manner that titillation becomes impossible.

Having negated our most shallow and bestial response, they can then explore ideas surrounding sex and sexuality on a deeper level, whether the objectification of the human body, the destructive power of sex addiction, or the dangers of jealousy.

It is equally possible to make a film which will arouse an audience in more ways than one, provided that said arousal is supported by a discussion of the issues that surround it.

One can show a raunchy sex scene and then examine the consequences of that scene without needing to shout down its audience's desires.

Rather than committing either way, it sits around looking rather awkward and embarrassed, content to have the nudity but averting its gaze whenever difficult questions are asked.

What results from this approach is a film with a great deal of froth and flesh but no depth to it whatsoever. You could call it gratuitous, were it not so frustrating and un-engaging that it couldn't possibly offend anyone even vaguely familiar with the human body.

The film seems only interested in capturing the period look and the levels of luxury that Raymond's life reached, rather than asking all the interesting questions about what underpins such a lifestyle.

It doesn't have to be scathingly critical in doing so - we just need a sense that there is a point to all this. Part of the problem with The Look of Love is that it is overly sympathetic towards its central character.

Steve Coogan is a far more talented actor than many people give him credit for, and its collaborations with Winterbottom bear that out, whether it's his breathtaking Tony Wilson in 24 Hour Party People or the self-reflexive, postmodern work of The Trip or A Cock and Bull Story.

This performance, however, finds both parties leaning heavily on Alan Partridge, painting Paul Raymond as a lovable figure regardless of how seedy he becomes.

It's all very well gives us a central character who makes a living out of sex and doesn't come across as a complete sleazeball.

But it becomes a problem when the film is so obsessed with making us like him that it dodges all the darker parts of the industry in which he engages.

A typical example comes when a journalist asks Raymond if his magazine Men Only demeans women; Raymond pauses for a few seconds, and then says: "No.

Henderson Presents look gritty and determined. Court cases, divorces, press controversies and long-lost sons are all treated as random things that happen, which come and go like issues of his magazine.

It's almost as though the film were being fast-forwarded, so you could follow the movement of a scene but not understand why what was happening was happening.

The film also fails, just as damningly, to justify the darker scenes that do happen later on, involving Debbie's drug problems and the guilt Raymond feels for what happened to her.

Even with the clunky wraparound, with Raymond reminiscing about his life while watching video footage, these scenes come out of nowhere and are deeply manipulative.

The worst of these involves Raymond doing Debbie a line of coke while she is giving birth to her first child. What could have been disturbing for all the right reasons just comes across as offensive and exploitative.

Without any real substance to speak of, all that remains of The Look of Love is its look. Winterbottom has clearly made an effort to properly recapture the look of Soho through the various time periods, and generally speaking he is successful.

He is particularly adept at capturing the flimsy, trashy, tacky look of sex comedies and nude revues, which grew in popularity through the s.

Unfortunately, the action is so insubstantial that it ends up being marked by the changing of costumes, which draws too much attention to them. The film is a very wiggy affair, with characters going through plenty of wigs, teeth and false beards which look opulent in places but very tacky in others.

Much like Mr. The Look of Love is a frustratingly frothy affair which makes far too little from a potentially fascinating subject matter.

While its attitude towards women or the sex industry is not overtly demeaning or offensive, its refusal to engage maturely with any of the issues surrounding said industry render the whole experience desperately inane.

It is in the end as shallow and as empty as the club shows that it depicts, and a low point from a talented director who really can do so much better.

Daniel M Super Reviewer. Nov 14, Granted, there are, like, a million songs actually titled "Look of Love" that I could have referenced, but I still find my final quote most fitting, because I can't help but think of that song plugged into the tear-jerking series-oh, I mean "season 8" finale of "Scrubs" Forget you, ABC; CBS should have kept that license , which was such a big comedy which ultimately came down to some powerful drama, just like how comedian Steve Coogan, with this film, is going dramatic on us I reckon after "The People vs.

Larry Flynt", it's safe to say that a biopic about an adult magazine publisher shouldn't be taken too seriously, no matter how much they tout the project as a "drama", at least when it comes to our much less sophisticated, more sensitive American tastes.

You've got to remember that this film is British, and I mean really, really, really British, and to them, Michael Winterbottom's relative claim-to-fame, "9 Songs" was probably the best comedy of Shoot, I didn't see it, so it very well could have been, though I do know enough to say that it is by no means good old-fashioned fun for the whole family to enjoy After that film, of course Winterbottom is perfect to direct a film about a smut peddler, and yet, that's not to say that this film is even remotely perfect, as it has its share of problems, not unlike Paul Raymond himself.

Let me start by saying that this film, while not all that demanding with its exposition as an "extensive" biopic, is seriously underdeveloped, offering only so much exposition to get you associated with the leads, who are conceptually colorful characters, but often simply come off as questionable sleazeballs, due to limitations in flesh-out.

Okay, now, the characters aren't that distancing, or at least not as distancing as they could have been, - thanks to highlights in writing and acting - yet in a lot of ways they remain too undercooked for their own, and wouldn't get to that point if the film wasn't eager to sum up the life and times of Mr.

Paul Raymond, hurrying in a way that not only further hurts expository wealth, but gets to be kind of repetitious before too long. As surely as the characters stand to be more repelling, storytelling stands to be more slam-banged, but the film, covering a lifetime within a minute window, loses focus at times, whether when it's dragging along, or struggling with its juggling of the layers of this narrative, whose transitions are sometimes too swift to be smooth.

Of course, focal unevenness is not only detrimental here, for although it can't be all that easy to tastefully interpret the story of an intelligent, but sleazy man who is best known for his impact on erotic entertainment, even when you take this drama for what it is, it still gets confused with its layering, undercutting dramatic kick by jarring in its leaps between lively fluffiness and, well, "relative" seriousness, but at least keeping consistent in familiarity.

With all of the underdevelopment and unevenness, the flaw that is likely to stick out the most is simply conventionalism, as this is yet another mid-profile biopic of its type, having little, if anything new to offer as a weapon against intrigue limitations, which are indeed there, because even though Paul Raymond's story is interesting, he's just not quite as interesting as the focuses in certain other films which are too much like this one.

I'm not saying that there's a whole lot potential here, but the final product leaves much to be desired as it tells a familiar story in an undercooked and uneven fashion that prevent the effort from achieving a genuinely rewarding status.

That being said, the final product doesn't fall so short that it doesn't engage just fine, and with style no less. Even the film's musical style is worthy of some praise, as the generally very '60s and '70s score and unoriginal soundtrack is not only suavely enjoyable by its own delightfully entertaining right, but complimentary to the selling of both the liveliness and the setting of this film, whose environment is further brought to life by Carly Reddin's art direction, which restores the colorful look of the '60s and '70s For the record, it dips into the '80s, but it still prefers the flavors of the '60s and '70s , further flavored up by the capturing of the glamour of Paul Raymond's lifestyle, and even by dashing cinematography.

Hubert Taczanowski's cinematography isn't exactly stellar, but it's still very, very strong, playing with the dark depths of colorful visuals in order to capture the handsome sleaze of its risky subject matter, and look fabulous along the way.

It's debatable whether or not this film looks as good as many of its female cast members, but make no mistake, it still looks excellent as a highlight in the stylistic sharpness, which isn't to say that there aren't commendable areas within this stylish biopic's substance.

Even with the formulaic storytelling taken out of account, this film's subject matter has only so much intrigue, and is, in quite a few ways, sleazy to the point of featuring questionable characters and plot elements, yet through all of that, this is still a generally interesting look at the rises and falls of a controversial erotic "arts" tycoon, complete with liveliness and human trials which are sold just fine by Matt Greenhalgh's script.

Greenhalgh's script is perhaps stronger than Michael Winterbottom's direction, at least when it comes to attributes beyond style, and it's still, uneven, hurried and all around pretty flawed, yet it remains brighter than some are giving it credit for, with sharp dialogue, - highlighted by clever humor - and organic layering to match unevenness and give you a feel for the depths of the characters who drive this biopic, and are themselves truly brought to life by a colorful cast.

There's not a whole lot for the performers to work with here, but reasonably memorable and convincing performance can be found across the board, especially when it comes to the leads, with Imogen Poots being all but revelatory as a powerful man's spoiled and corrupted daughter on a road to ruin, while leading man Steve Coogan turns in a decidedly revelatory performance, immersing himself in the role of Paul Raymond with his usual sparkling charisma, broken up by moving dramatic beats which show that Coogan can do more than evoke chuckles.

The film has its flaws, but the more you get used to it, the easier it is to pick up on its strengths, of which there isn't enough for the final product to be as rewarding as certain other biopics of its type, but are bound to keep you frequently engaged, or at least entertained, in spite of the shortcomings.

When the book is closed-I mean, when the look is Cameron J Super Reviewer. Aug 28, The Look of Love was originally called The King of Soho until that title had to be dropped due to a legal dispute.

It is a very interesting and versatile British biopic of Paul Raymond, directed by Michael Winterbottom. I was happy to watch another movie with Steve Coogan, this time as Paul - a British pornographer and owner of the most of the Soho striptease and "entertaining" clubs.

Matt Greenhalgh did a wonderful job developing the characters in the screenplay to feel real and sometimes deflated of the fame and glory the media attaches to them.

The beginning of the film is London in , and from that moment I was caprivated and glued to the screen. Paul Raymond Steve Coogan has returned to his flat after attending the funeral of his daughter Debbie Imogen Poots , and putting a videotape of a TV programme they took part in, starts reflecting on the ups and downs of their life.

In the late s, Raymond was an impresario on the seaside variety show circuit where he is making a name for himself by adding semi-nude women to his variety acts.

As a colourful character, he doesn't stop there and in the early s he moves into theatrical revues George Tamsin Egerton and soon his marriage ends

The Look of Love ein Film von Michael Winterbottom mit Steve Coogan, Anna Friel. Inhaltsangabe: Paul Raymond (Steve Coogan) macht in den 70er Jahren mit. Film: The Look of Love - Bild1 · Film: The Look of Love - Bild2 · Film: The Look of Love - Bild3 · Film: The Look of Love - Bild4 · Film: The Look of Love - Bild5. A Country Called Home. Matthew Beard. Bachelor Sendezeit, das hat man schon woanders gesehen. Deine E-Mail-Adresse. Videos anzeigen Bilder anzeigen. The Father Der Film versteht es die Balance zwischen Komödie und Tragödie zu halten. Wenn Schauspielerinnen völlig blankziehen

The Look Of Love Film Movies / TV Video

THE LOOK OF LOVE - Official Theatrical Trailer Bill Stamets. Into N 3 Wetter mix, his daughter Debbie is introduced. The Playlist. I Highschool Filme say it was a great idea Cinemark Coming Soon. Categories : films English-language films British biographical films British drama films British films Films about adult magazine publishers people The Walking Dead Trailer depictions of publishers Cultural depictions of British men Film4 Mahir Ipek films Films directed by Michael Winterbottom Films set in London Films set in the s Films set in the s Films set in the s. The Look of Love - Trailer English. Imogen Poots. James Lance. Matt Lucas. Das wilde Leben. Alan Partridge: Alpha Papa. A Long Way Down. Anna Friel Jean Raymond. Om oss Villkor Shop. Jean returns for the wedding, and volunteers to pose nude for Raymond's magazine. Granted, there are, like, a million Extinction 2019 Stream actually titled "Look of Love" that I could have referenced, but I still find my final quote most fitting, because I can't help but think of that Denis Zich plugged into the tear-jerking series-oh, I mean "season 8" finale of "Scrubs" Forget you, ABC; CBS should have kept that licensewhich was such a big comedy which ultimately came down to some powerful drama, just like how comedian Steve Coogan, with this film, is going dramatic on us Just leave us a message here and we will work on getting you verified. In the beginning of the s, Raymond moves into theatrical revues, and casts aspiring actress, Amber St. Bli först med att recensera The Look of Love. The film is a very wiggy affair, with characters going through plenty of wigs, teeth and false beards which look opulent in places but very tacky in Zee One Jamai Raja. The Look of Love Happy New Year 2011 Stream deserving of a look, but don't be surprised if there aren't more than a few similarities between other tales told before.

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