Ethel & Ernest (2016)

Wonderful character development!

A lot of fun.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

A piece of nostalgia for anyone, like me, over 50. We remember a country like this. But anyone under 30 might think that this film is about some mythical Golden Age. Was there really such a time? A time when a milkman and his wife, a clerk, could afford the mortgage on a three bedroom house in Wimbledon Park? A time when their child, if clever enough, could go to grammar school, and then onto University, without shouldering a crippling debt? A time when social welfare and housing were improving, and political parties vied with each other to better the lives of ordinary people.If you think that perhaps the country was in a better financial state back then, you'd be wrong. We were in huge debt after the second world war, with debt to GDP twice what it is now. And yet now we need austerity. How did things go so horribly wrong?

Ethel & Ernest is a tribute by author Raymond Briggs to his working class parents. Both meet in 1928, Ethel who is older, is a maid to a wealthy family. Ernest, a milkman who is 5 years her junior waves at her every day and then one day brings her flowers and asks her out.Ernest is a Labour supporter, Ethel believe that the toffs are born to rule and is a Conservative. They get married and Ernest saves enough money to put down a deposit for a house and get a mortgage. Eventually little Raymond arrives but they could not have anymore children. When war breaks out Raymond is sent to the country where he would be away from the bombing raids.After the war, Ernest cheers on the creation of the welfare state but ongoing rationing places a strain. As Raymond gets older, he does his bit in National Service and later goes to art school and insists on having long hair.The film becomes more episodic as we go through the swinging sixties and eventually to their old age. Ernest, ever the optimist, although it dawns on him that as a manual worker, he was always relatively low paid (he finds out that Raymond could earn just as much as him by working one day in art school) but he did manage to buy a house in London and eventually purchased a car.A charming animated film of two people in love and coping with events but also a social history of the twentieth century. Lovely voice work from Brenda Blethyn and Jim Broadbent.

I had, of course, read the reviews of this film before unintentionally falling upon it by chance on Christmas television.I have long lamented the lack of charm in most of the recent Disney films, for example, indeed the absence of charm in today's society in general, but it is present in this film in abundance. Not only is this film visually captivating but I was frequently moved to tears by the unexpected pathos of this story, which is a microcosm of the experiences of that most extra-ordinary generation who fought and survived the Second World War and who's members, through age and slow disease, are now virtually all departed from this world.This film is sincere, amusing and observant, and like the Snowman, however different in style, will endure forever.

What a wonderful thing Raymond Briggs has done. This magnificent, sensitive and funny animated film about the lives of his parents Ethel and Ernest is a triumph. It surpasses even his famous THE SNOWMAN (1982) and, I daresay, is what he will truly be remembered for. In this age in which we live at present, when the ordinary people are rising up in revolt against their snotty and arrogant politicians, in what the elites patronisingly call 'populism' (and what is wrong with the populus, then, that it should become a term of derision?), we have here the perfect paean to real life, to real people, to real hopes and to real dreams. With his subtle and loving humour, which pervades the entire film, Briggs brings to life his parents in the most intimate possible manner. He allows us to chuckle at their foibles, without ever once looking down upon their numerous limitations. The story starts in 1928 when his parents meet. Ethel is a lady's maid who waves at the jolly young man who rides past her window every day. Before long, he turns up with flowers and asks her to go to 'the pictures' with him. And soon enough they are married. But time goes by and they do not seem able to have a baby, and Ethel cries and says she is getting too old. But Fate intervenes, and Raymond is born, though the doctor warns Ernest they must not have any more, as 'it was hit and miss' and 'more children means no wife'. So they settle for the one child. We are taken through the whole of the period between 1928 and 1971 as seen through the eyes of Ethel and Ernest. Ernest reads the paper every day eagerly, and is always saying things like: 'Crikey! Hitler's just invaded Russia!' and reacting to world events in the kitchen. Ethel pays little attention and does not much grasp the significance of things. For instance, when told that the Duke and Duchess of Windsor are going to meet with Hitler, her reaction is 'He can't be too bad then.' Raymond does not hesitate to make fun of himself, mocking his own affectations as an art student and his refusal to comb his hair. Every day domesticity is elevated to the status of a mythology in this film, and Alan Bennett's eye for the details of daily life is actually surpassed here, which I would not have thought possible. This film is really a love poem by Raymond Briggs to his parents, whose own lifelong love story is so touchingly revealed to us in all of its minutiae. Rarely can anyone have paid such an intense and devoted tribute to his parents, in any art form. To do so with Briggs's magical drawing talent is so evocative and so moving that we have here what is truly a transcendent work of art. The direction by Roger Mainwood is perfect, and Jim Broadbent's voice for Ernest and Brenda Blethyn's voice for Ethel are beyond perfection. The other voices are also excellent. This film may not have the obvious attraction of snowmen flying through the air, but it soars nevertheless, higher than the air in fact, into a realm of pure love and pure simplicity. Long live real people! And may those who celebrate them always be honoured, as Raymond Briggs deserves to be for many long, long years to come.