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Absolutely Fabulous The Movie

Appropriate for their big screen debut, Edina Monsoon and Patsy Stone (Jennifer Saunders and Joanna Lumley) are still oozing glitz and glamour, living the high life they are accustomed to; shopping, drinking and clubbing their way around London’s trendiest hotspots.  But when they accidentally push Kate Moss into the river Thames at an uber fashionable launch party, Eddy and Patsy become entangled in a media storm surrounding the supermodel’s untimely demise and are relentlessly pursued by the paparazzi. Fleeing penniless to the glamorous playground of the super-rich, the French Riviera, they hatch a plan to make their escape permanent and live the high life forever more!

Fox Searchlight Pictures presents in association with BBC Films a DJ Films/Saunders & French production, starring Jennifer Saunders and Joanna Lumley in ABSOLUTELY FABULOUS THE MOVIE, also starring Julia Sawalha, Jane Horrocks, June Whitfield, Chris Colfer, Kate Moss, Lulu, Emma Bunton, Robert Webb, Barry Humphries, and Indeyarna Donaldson-Holness. The comedy was directed by Mandie Fletcher from an original screenplay by Jennifer Saunders, based on her hit television sitcom of the same name. It is produced by Damian Jones and Jon Plowman; the executive producers are Maureen Vincent, Jennifer Saunders, Dawn French, Christine Langan, Nichola Martin, Steve Milne and Christian Eisenbeiss. The director of photography is Chris Goodger, and the production designer is Harry Banks. The costume designer is Rebecca Hale and the hair and makeup designer is Christine Cant.

Eddy’s PR career has hit the skids. Her not very many clients include a boutique vodka and the 60’s pop icon, Lulu, who refuses to sing ‘Shout!’ as often as Eddy would like. Eddy is desperate for someone to publish her memoirs - every microbe on the planet seems to be able to get a book deal these days - but the publishing world isn’t biting.

Patsy’s career, meanwhile, seems to be miraculously intact. In fact, her magazine is sponsoring a major fashion event, the Huki Muki Retrospective launch party. Everyone who is anyone is going to be there, even the supermodel Kate Moss, who happens to be between PR’s (publicity reps)...

Kate Moss! All Eddy has to do is get to Kate before her arch rival Claudia Bing (Celia Imrie) of Bing, Bing, Bing & Bing, and she will be right back in the game. And in her beautiful 13 year-old granddaughter Lola (newcomer Indeyarna Donaldson-Holness), she has the perfect accessory to help her to do just that. Needless to say Eddy, who still claims to be 49 years old, hasn’t embraced grandmotherhood in the traditional twin set and pearls sense but she and Lola have a common enemy in Lola’s mother Saffy (Julia Sawalha), Eddy’s long-suffering, straight-laced daughter.

But things go badly wrong at the Huki Muki party. When Kate Moss is involved an accident, the hating faces of the fashion world place the blame firmly at Eddy’s door. When an attempt to find Kate results in the disappearance of Eddy’s trusty secretary, Bubble (Jane Horrocks), she and Patsy have no choice but to go on the run in search of great escape and rich husbands. And what better place to do that but the South of France, where mother (June Whitfield) is celebrating the birthday of her extremely wealthy sister, Violet (Wanda Ventham).

So ensues a hilarious Cote d’Azur caper, with all our favourite old faces rubbing straw hats with a lineup of pitch perfect new characters. Will Eddy’s dissolute past begin to catch up with her? Is the party finally over?

Sweetie Darling: Twenty Five Years of “Absolutely Fabulous”

In 1990, Jennifer Saunders and her comedy partner Dawn French were writing the scripts for the third series of their hit TV show, “French and Saunders”, when they came up with a sketch about a mad, ‘modern’ mother, an ex-hippy called Adriana - as played by Saunders - and her sad, straight-laced daughter, as played by French.

One year later, in 1991, French and Saunders were preparing to film their fourth series. Studios had been booked at the BBC and the show’s longtime director, Bob Spiers, was in place. Just as the girls - who had been comedy collaborators since meeting at drama school in the late 70’s - were about to get down to writing the series, Dawn French and her then husband, Lenny Henry, got the phone call they had been awaiting hopefully for years; a baby girl was ready for adoption. Work had to be put on hold.

It was at this point that Saunders got a call from her longtime agent, Maureen Vincent, wondering if there were anything else that she could think of that might fill the studio slot? For Saunders, who had never considered writing anything on her own, this was a terrifying suggestion. Encouraged by her husband, fellow writer and comedian Adrian Edmondson, Saunders had a think about what on earth she could write. It was then that she came back to the idea of the modern mother Adriana, who she would rename Edina “Eddy” Monsoon. “I had enjoyed writing and playing the character,” she says. “I could speak her easily, which made the writing easier, indeed possible.”

Saunders - who got the idea for Eddy’s job from Lynne Franks, then London’s hottest fashion PR - wrote a treatment, and the wheels started to turn. Jon Plowman, the “French & Saunders” producer (who went on to become the Head of Comedy Entertainment at the BBC), liked the idea and encouraged her to go away and write a pilot. Saunders scribbled the pilot - ‘Fashion’ on an A4 notebook. In it, Eddy wakes up on the day of her big fashion show to a hangover and a guilt trip from her daughter, Saffy. Along with her best friend, Patsy, Eddy turns the show into a rousing success and, the next morning, she and Patsy trick Saffy into thinking that Eddy is going to check into rehab.

Originally broadcast on the BBC in 1992, “Absolutely Fabulous”, or “Ab Fab” as it would come to be known, aired to instant acclaim. Patsy and Eddy shocked and delighted in equal measure, Saffy made our toes curl and gave the show a heart, Mother knocked us dead with her withering one liners and Bubble made us laugh out loud with her surreal inefficiency.

It was a show that had something for everyone: a dysfunctional family, a die-hard friendship and a huge, outrageous sense of fun. “The characters in ‘Ab Fab’ - and it is a concept that is driven by its characters - are a cartoon version of all of us,” says Saunders. “And I think, at the end of the day, people like to laugh at themselves and not take life too seriously. If I had to say why the show was a success, I would say that it was because it was a license not to have to behave. Patsy and Eddy are awful, sad human beings, but they enjoy themselves hugely. Plus, they are each other’s greatest ally. My main experience over these past god knows how many years is that people come up to me and say ‘I’ve got a Patsy, I’ve got an Eddy. They are just like me and my mate.’ And, do you know what, everyone likes to have a little double act, a friend who supports them, who they can have a laugh with. Because that is what family, in its strongest possible sense, is and should be. And that’s all any of us want from life, really. That, and to have fun, to have a laugh, and not take it all too seriously.”

Riding high on its runaway popularity, “Absolutely Fabulous” - which was also bought by the Comedy Central in the US in 1994 - ran for three series, from 1992 to 1995 (winning the BAFTA Award for Best Comedy Series in 1993). In 1996, a two-part television film entitled “The Last Shout” was to be its finale. But the world wanted more and, between 2001 and 2004, two further series and three one-off specials aired. Seven years later, in 2011, Saunders once again bowed to public demand with two further hour-long specials on Christmas Day 2011 and New Year’s Day 2012, both directed by Mandie Fletcher. A further special aired to coincide with the 2012 London Summer Olympics (also directed by Fletcher, and for which Saunders won a Best Actress BAFTA) - was to be the last.

But four years, and much lobbying later, Saunders has finally given the world what it has really been waiting for: ABSOLUTELY FABULOUS: THE MOVIE.

Hedging her bets; bringing “Ab Fab” to the big screen

“You keep meeting people and they keep enjoying it, but it was Joanna Lumley who finally forced me into it,” says the arch-procrastinator, Jennifer Saunders, a woman much happier sweeping her terrace or cleaning her keyboard than she is actually sitting down to write. “She put it very simply, and very brilliantly. She simply said ‘You must write it, darling. Otherwise we will all be dead and we won’t have made the film.’And I love hanging out with Joanna, and I love being with the other cast members, and I knew that we could have a lot of fun.”

Around the same time, Saunders was recording her Radio 2 Christmas show with her old friend and collaborator, Dawn French. When French asked her, live on air, what her New Year’s Resolution was, Saunders (who had recently published her autobiography “Bonkers: My Life in Laughs”) replied that she was determined to finally write the script for the film version of “Ab Fab”. French, who had heard it all before, spotted an opportunity. “She said that, if I hadn’t written the script by the same time the following year, I would have to pay her £10,000,” Saunders remembers. French & Saunders shook on it and the deal was done. “I was pretty confident that I would have written it by the summer,” says Saunders.

One year later, on the eve of recording their end of year 2014 show, Saunders realised, in a blind panic, that she hadn’t fulfilled her side of the bet. “I had such a mental block about writing it,” she admits, “I just couldn’t quite see it yet.” Not wanting to suffer the indignity of losing the bet, not to mention the £10,000, Saunders quickly banged out the first 30 pages of a 90 page script. On the blank 60 pages, she simply wrote “Blah, blah, blah”, hoping that French might not notice. On the day of the recording, as she handed over the unfinished script, Saunders was “actually sweating and panicking.” When the recording had finished, her comedy partner came up to her and said “That’s not the script.”

“This was just before Christmas and I argued that I had until New Year,” Saunders remembers. “I promised her that, by New Year’s Day, she would have a finished script.” Over the next couple of weeks, Saunders continued to flesh out a version of the script and emailed it to her comedy partner, knowing full well that French was a luddite who didn’t do email and “would probably never get round to reading it.”

Still, Saunders had kept her side of the bargain and, by then, the word was out. “Most movies are a script in search of some money,” explains Jon Plowman, who had produced all five series and seven specials of Ab Fab over the years. “But this was more a case of some money in search of a script. From the minute the word got out that Jennifer was contemplating writing the film of ‘Ab Fab’, lots of financers threw their hats in the ring. It was what the world had been waiting on for years.” Both Plowman and Saunders are particularly happy that BBC Films have a stake in the film. “The BBC is where the show started, ”says Saunders. “We owe them a lot.”

Albeit a little unwittingly, Saunders was now committed. She was not without her worries. “I felt, what I’d always felt, which is that it wouldn’t be enough to make a film version of the TV show, because that was just an excuse to make jokes for half an hour. No, the film had to be something different, something bigger. It had to be relevant. It had to be about Patsy and Eddy now and the reality of how their life would have panned out. And that reality, let’s face it, was always going to be quite sad.”

In a world which is “running away with itself”, Eddy has become an anomaly. “She has always been an enthusiast for the new but, in an age of social media, everyone is onto everything before she can be,” says Saunders. “The world has left her behind, in a way. She’s become slightly irrelevant and behind the bounce. Neither she nor Patsy is savvy enough or hip enough - because they never were, let’s face it - to keep up.”

The subject of aging in the modern world was something of particular interest to Saunders, herself now a grandmother of two. “Eddy and Patsy don’t know how to grow old, in the way that none of us seem to these days,” she says. “In cave man times, we would all have been dead by the time we were thirty. Now, we flap about until we are 70, 80, even 90 and we don’t know what to do because biologically we should just be dead. And we haven’t got this extra brain or gene that tells us how to live to be old. We used to just disappear into the twilight without spectacles but now we can have laser surgery and we don’t know what to do. We don’t just not know how to grow old gracefully; we don’t know how to grow old at all. It’s like we’ve lost the ability to stop wearing trainers.”

No one more so than Eddy and Patsy. “They refuse to give up,” says Saunders. “They can’t, and won’t, ever admit to being old. Ever. So they have to find a different dream; they have to retreat into the past, into something sentimental and nostalgic that they love and know. And, for them, that is the idea of the South of France, of somewhere halcyon where their idea of glamour is still clinging on for dear life.”

Saunders herself is baffled by the modern world. “To me, keeping up with Facebook and Instagram and Twitter is a whole day’s work,” she says. “I don’t know how not to trail through other people’s worlds of children and dead friends and dog videos before I get to someone I actually know.”

To her mind, the 21st century - with its earnest, faddy twittering - is just as ripe for a swipe as it ever was. And what more powerful symbol of its antithesis than Kate Moss? “Kate represents the old souls,” explains Saunders. “No, she’s not going to give an interview, no, she’s not on social media and yes, she’s still bloody gorgeous. Kate Moss is the one person that defies everything about the modern world and that is precisely why the world loves her. It is certainly why Patsy and Eddy love her. She is the one that they would like to live like. Because she has fun, and she doesn’t play by the rules, and she manages to be herself, however she wants to be, and gets more beautiful with every day that goes by. She doesn’t age or fade; she blazes a glorious, rebellious trail and, in the sweetest, coolest, most gorgeous way pays no heed to what anyone thinks.”

The secret to the success of “Absolutely Fabulous” has been its refusal to play by the rules. “It was the first time, on screen, that women were seen behaving badly,” says Jane Horrocks (Bubble), who originally auditioned for the part of Saffy, and then created her own, fabulously kooky character in Bubble. “When Patsy and Eddy came along, women the world over felt that they had been given permission to get arseholed and have a laugh. They were such a breath of fresh air; such a brilliant, funny relief.”

Patsy and Eddy do what most of us would like to do but that which we don’t quite have the guts to do. And now, on the big screen, their glorious misbehaving is going to be amplified. But Saunders was determined that, along the way, there needed to be a moment of reckoning. No victory can be sweet if there isn’t a lot to lose. “I wanted to make sure that Eddy was driven - and, by driven, I mean quite literally driven - into a moment of comeuppance. Her awful moment is the moment that she looks at who she is, and who she has been, and what the future holds, and almost embarrasses herself into saying that she loves someone.”

But Patsy and Eddy will never lose. They can’t lose because at the end of the day their audience wants to see them win. Firstly, because of their friendship, which is a thick and thin union that has lasted longer and more joyously than most marriages of the same length. And secondly because, in their boundless optimism and resolute refusal to be anything but themselves, they provide the perfect comic tonic to real life. “The truth is that times are quite dark,” says Joanna Lumley. “People are tired and lives can sometimes feel dull. But Patsy and Eddy don’t feel that. They are positive forces, life forces, forces for fun. And they believe that, whatever happens to them, they are going to survive and come out on top.”

From sitcom to cinema; painting the bigger picture.

“This is ‘Ab Fab’ on a completely different scale,”says producer Damian Jones. “Fans of the TV show are in for quite a treat because they are going to get all the outrageousness and hilarity that they first fell in love with, wrapped up in a very glamorous package.”

Filming on ABSOLUTELY FABULOUS: THE MOVIE began in October 2015. From the outset, the team behind the film were determined that its denouement should take place on the Cote d’Azur. “Patsy and Eddy are wildly hedonistic creatures and to them the South of France is a sort of nirvana,” explains Jon Plowman. “It’s got all the ingredients for their sort of good life - yachts, sea, sun, booze, hotels that are beyond the dreams of ordinary mortals where drinking huge amounts of champagne before breakfast is absolutely the done thing. It’s the life that they have been looking for since 1991, when we made the first pilot for the series.”

The finished film blends some of the more iconic landmarks - the Croisette in Cannes and the Grand Hotel du Cap Ferrat - with some hidden visual gems, such as the gorgeous St Peter’s Chapel in Villefranche-sur-mer and the Palais Bulles, Pierre Cardin’s futuristic clifftop villa in Theoule-sur-Mer. “The villa has a glamour and a sort of exuberant bonkersness to it that we just thought was very ‘Ab Fab’,” explains the film’s production designer, Harry Banks, whose work on several episodes of the TV series meant that he spoke the show’s language.

Particular praise must be singled out for the Grand Hotel Du Cap Ferrat, easily one of the most prestigious hotels in the world, who, for the love of “Ab Fab” threw open their doors and, most remarkably, closed down their swimming pool - one of the most exclusive in the whole Riviera - for an entire day.

It certainly wasn’t always easy. A matter of days before filming was due to begin, the Riviera was hit by catastrophic flash floods. But, rather than battening down the hatches, locations like the Martinez hotel in Cannes welcomed the production with open arms, despite still being without telephone or internet connection in the wake of the storms.

For the full two weeks of Riviera filming the Cote d’Azur luckily returned to its most blue-skied beautiful, which only served to heighten the sense of old-fashioned glamour that Eddy and Patsy have always yearned for.

Back in London a different backdrop glitters, but it is certainly just as majestic. With its big vistas, glass shards and twinkling modernity, the banks of the River Thames provided the perfect up-to-date backdrop for this contemporary look at a group of characters whose lives we have been following for a quarter of a century. Stand out, cutting edge locations included a 22nd floor penthouse of Neo House on Bankside, where a Giles Deacon fashion show opens the story, to an undeveloped Victorian Pump House in Wapping which provided the perfect backdrop for the Huki Muki party. Their aesthetic appeal aside, what these spaces provided to the filmmakers most of all was a canvas on which to paint their picture in the broadest possible strokes. “Our ultimate aim was to open the TV series - which largely took place in the closed set of Edina’s house - up into 360 degrees,” Harry Banks explains. “This is the ‘Ab Fab’ we know and love, but it has now opened up onto a believable, cinematic scale. We’ve given it an uplift, I suppose. And the effect that that creates is that it makes the audience feel that they are somehow, more than ever, living Patsy and Eddy’s experiences alongside them. We can drive with them up to Eddy’s house, follow them down the stairs into the kitchen, go with them to a party, cruise with them on a yacht. It’s the same ‘Ab Fab’ we know and love, but now it’s in Technicolor.”

“It was very simple, really,” says Mandie Fletcher. “We wanted it to look, and feel, like a glass of champagne on a dark day. We’ve given it the gloss, the glitz and the glamour that it deserves.”given it their absolute all. It has been a real labour of love.”
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