【影片原名】All in Good Time
【中文译名】所有的美好时光
【出品公司】Left Bank Pictures
【出品年代】2012 年
【上映日期】2012年5月11日 爱尔兰
【影片级别】Ireland:15A | UK:12A | Singapore:NC-16
【官方网站】http://www.preall.com/thread-htm-fid-52.html
【IMDB链接】http://www.imdb.com/title/tt1980911/
【IMDB评分】6.5/10 (40 votes)
【国　　家】英国
【导　　演】Nigel Cole
【主　　演】Arsher Ali ... Etash
　　　　　　Angie Inwards ... Beryl
　　　　　　Amara Karan ... Vina
　　　　　　Shelley King ... Auntie Laxmi
　　　　　　Neet Mohan ... Jay Dutt
　　　　　　Rani Moorthy ... Auntie Sudha
　　　　　　Harish Patel ... Eeshwar
　　　　　　Amith Rahman ... Young Brijesh
　　　　　　Reece Ritchie ... Atul
　　　　　　Aliyza Shahi ... Young Lopa
　　　　　　Hassani Shapi ... Laxman Patel
　　　　　　Meera Syal ... Lopa
　　　　　　Ozzie Yue ... Mr. Dinesh
　　　　　　Yusuf Bhaimia ... Waiter / Wedding Guest (uncredited)

【内容简介】

All in Good Time is a touching, likable comedy of life in Lancashire's Hindu community. Though this aspect is little publicised, it's closely based on Bill Naughton's 1965 play of the same title.
Born in Ireland and raised in Bolton, Naughton emerged as a novelist and playwright in the late 50s in the wave of northern working-class writers like Shelagh Delaney, Keith Waterhouse, Alan Sillitoe, David Storey and Stan Barstow. But having been born in 1910 and worked for years as a coal-bagger, cotton-loom operator and lorry driver, Naughton belonged to an earlier generation and was altogether less chippy, aggressive, and self-consciously political about his background.

He enjoyed considerable success in the theatre and had three of his plays filmed, though his most enduringly popular work, the film version of Alfie, completely misrepresented Naughton's radio play, a study of working-class Don Juanism, observing Britain's changing moral climate from the 30s to the 60s.

All in Good Time was first staged with Bernard Miles as Ezra Fitton, an overbearing working-class paterfamilias said to have been inspired by Miles's own domineering personality. Fitton's son has problems consummating his marriage while still living in the family's terrace house in Bolton, and his relationship to his wife is nearly ruined, largely due to his father's coarse and competitive behaviour and to the cramped domestic conditions. The play was filmed in 1966 by the Boulting brothers under the nudging title The Family Way, starring John Mills as Ezra, with music written by Paul McCartney and arranged by George Martin.

Surprisingly, and an indication of the currently unfashionable nature of Naughton's reputation, the only reference to the new film's provenance is a word of thanks at the end of the final credits to Bill Naughton's estate. What is widely acknowledged is that it was the source of the play Rafta, Rafta by Ayub Khan-Din, author of East Is East, a splendid comedy of Asian family life in Salford, and its sequel, the rather less splendid West Is West.

Rafta, Rafta was received with considerable acclaim at the National Theatre in 2007, its title deriving from a celebratory Hindi song that apparently translates as "All in Good Time". In this, the film version, two outstanding comic actors, Meera Syal and Harish Patel, reprise their stage roles as the bridegroom's parents, Mr and Mrs Dutt.

The reworking involves few radical changes in Naughton's plot (the Dutts' son Atul, for instance, still works as a projectionist, though in an independently owned cinema showing Bollywood movies). But several factors contribute to the success of the adaptation. The first is that as few couples in the white community go to the altar nowadays as virgins, problems of marital consummation are now largely confined to more conservative communities. (Ian McEwan had to go back some 40 years to tackle this situation in On Chesil Beach in a middle-class British situation.) Another is that the plot functions best in a tight-knit community that respects traditional values. A third is that Naughton's play depends upon the need for a special relationship (respectful going-on fearful) existing between father and son, and behind this a dedication to the continuation of the family. The men must receive their due attention, a proper consideration of their pride, but the women in this Asian world are truly the stronger, more philosophical ones, as once they were in the old days of industrial Bolton.

Naturally a certain contrivance is involved in the newlyweds – a good-looking, intelligent, but touchingly naive couple (beautifully played by Reece Ritchie and Amara Karan) – being marooned in the bridegroom's parents' home, their honeymoon in Goa having been cancelled due to a travel agent absconding – in Naughton's day the honeymooners were going to Jersey. But this is more than made up for by the reality of the Dutts' cramped end-of-terrace house, and the recent increasing tendency of children, both married and single, moving back into the parental home. But essentially what gives the original play and Khan-Din's reworking their power is the way tragedy and comedy are interwoven into a generous, good-natured story of everyday problems. The chorus of three middle-aged gossips from the Ena Sharples corner of The Rovers Return may be sharp-tongued and censorious but they're kindly.

The film disarmingly begins in a Donald McGill style with vulgar, music-hall jokes about the trickiest of problems – sex, marriage, the making of lifetime commitments. It then takes us into quite different territory when it tackles big themes like the failure to consummate marriage, and introduces a major subtext. Mrs Dutt recalls the close friendship of her husband and the male friend who'd accompanied him from India to Lancashire. This same man later came along on the Dutts' honeymoon and clearly meant more to Mr Dutt than his bride. Here we realise that we've entered, if only briefly, the world of Tennessee Williams. Failed marriages and the inability to consummate are major elements (as both plot devices and symbolic themes) of Period of Adjustment, A Streetcar Named Desire and especially Cat on a Hot Tin Roof, which has a striking resemblance to All in Good Time.

Of course, the film must ultimately remain a comedy and, after tears and fresh understandings, be resolved in an acceptance of conventional values. Ken Loach or Mike Leigh would have been the wrong director for this film, or at least would have turned it into something rather different. All in Good Time is directed by Nigel Cole, a film-maker with an unpatronising affection for provincial and suburban life who directed Saving Grace, Calendar Girls and Made in Dagenham. He's given it that Ealing touch – not the dangerous Ealing of Robert Hamer or Alexander Mackendrick, but the cosier, decently honest Ealing of Henry Cornelius and Charles Crichton

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