Spall’s fumbles and denials are highly appealing, he may move slow, but with a film so still, he has the right amount of pace.
Leigh is annoyingly a good documentary maker just as he is a filmmaker. His film has the authenticity of the old school cinema style where it takes you on a long productive journey without feeling the need to entertain you with various flim-flam. But the writer-director, Mike Leigh doesn’t have the crowd gathering catchy topic to entertain you. Hence, the dislikeness in public opinion is understood- not that much, of course. A film about a painter, of course is visually as picturesque as some profound painting. Mostly, the scenes either starts or ends on a still frame that signifies the theme of the painting with exotic live locations and visuals that almost comes off animated.
There is a scenario installed just to portray the rebellious nature of our lead. Now, not only does that scene begs the existence in the narration but also “how” did Leigh get the courage to pull it off on screen. While this debacle amongst the most prestigious bohemians is entertaining to the last nail, it certainly is highly risky. Not only in its entirety, it asks for time to grow old but also the confidence of sticking by the penalty it brings the film with.
Also, notice how a dose of exhilaration even as party-stopper as such wears off within that scene. Leigh does it, by disenchanting the viewers from that scene by making them realize that they are experiencing it all on screen. He has kept a third party in the narration throughout the film. One of the characters is foliated every now and then as an audience. Mostly it is Timothy Spall as Mr. Turner. Since his profession or passion asks him to observe the nature of his surroundings. He often dissolves into the picture that he sees than the context it or someone speaks of.