Though narratively Janos Edelényi’s The Carer bears a similarity to that of the Al Pacino starring Scent of a Woman, it differs in tone, as this remains a distinctively British piece of cinema, with a certain tenderness and charm prevalent, as a feature that, while receiving a theatrical release, would make for ideal viewing at home on a Sunday afternoon.
Coco Konig, in her very first performance on screen, plays Dorottya, a Hungarian care-home worker who specialises in the elderly – until one day she is hired, begrudgingly, by the ageing thespian, and terminally ill, Sir Michael Gifford (Brian Cox). Though he wants nothing more than to be left alone, his put-upon daughter Sophia (Emilia Fox) believes he is in need of assistance, and though completely against the idea at first, as he gets to know his new carer, he rather reluctantly agrees. As the pair strike up a close friendship, Sir Michael readies himself for his very final public performance – as he’s to receive the lifetime achievement award at the Critic’s Guild ceremony, and needs to prepare a speech.
It’s intriguing to candidly and intimately study the life of a supposed Sir, to see them as a flawed, vulnerable person, dependant on others, humanising them accordingly and proving that, in spite of the pedestal we put them on, just as we would the likes of David Attenborough, Michael Caine, etc, we see them as being fallible, seeking help just as we do. It’s particularly moving within this endeavour when Sir Michael loses any sense of dignity, something that a Sir generally has in spades. It’s especially prevalent in the scene when Dorottya gives him diapers – the saddest and most shameful aspect for him, is knowing that he needs them.
Konig impresses in her debut feature film, with an endearingly unassuming demeanour, which the character needs, as somebody who is impossible to dislike, and the film simply wouldn’t work without that as we need to comprehend just why this bitter old man would be won round by her. At times she does show her limitations as an actress, not quite strong enough to carry the film, but much of that is down to the fact she is acting opposite Cox, and it can be pretty hard to keep up with him when he’s in full flow.
The nature of the character allows the venerable Scot to be over the top and extravagant too, in a wonderful way, as he plays this eccentric ac-tore just as you would hope for it to be portrayed. So, if this is art imitating life, then here’s hoping that life will eventually imitate art, for Brian Cox too could do with a lifetime achievement award of his own.
