The Look of Love

Synopsis: Am account of the scandalous career of the infamous ‘King of Soho’, Paul Raymond (Steve Coogan),  shrewd businessman and innovative pornographer, once named Britain’s wealthiest man. Despite fame and riches, his life was tinged with tragedy, from failed romances to the untimely death of his beloved daughter, Debbie (Imogen Poots).

Director Michael Winterbottom reunites with his long-time collaborator Steve Coogan (24 Hour Party People, Tristram Shandy: A Cock and Bull Story, and The Trip) for his latest feature, The Look of Love, a biopic of British entrepreneur and pornographer Paul Raymond. Coogan plays the charismatic kingpin, known for his lurid clubs in London’s Soho district.  A one-time street-entertainer on Essex’s Clacton Pier, Raymond built from the ground up a multi-million pound empire, accumulating a fortune in real estate and developing a chain of “adult” publications in the process.

An out-and-out ladies’ man, Raymond can schmooze and flirt with the best of them. His marriage is open, at least on his end of it, and he takes full advantage of this freedom. Like many rich and successful men, Raymond finds himself a steady entourage and a free pass to do just about whatever he pleases. He surrounds himself with willing young women who tickle his sexual fancy. Despite her brave face, his wife, Jean (Anna Friel) cannot help but feel cheated. And too right, Raymond soon cashes her in for a newer model, Amber (Tamsin Egerton). Jean ups and leaves with their two children, Howard and Debbie.

Raymond, seemingly suffering from childhood abandonment issues since his father walked out on his family, shows a marked distrust of the males in his life.  Whether it is the illegitimate son who makes a late appearance in Raymond’s life (Derry, played by Liam Boyle), or his coke-snorting editor and business partner (Tony Power, played by Chris Addison), Raymond remains on guard. He clearly privileges the company of the women in his life. Whether he respects them or not is another matter.  

There is a stylistic evolution as the film travels through the decades. As Raymond launches his career, his business clashing with the puritanical culture of the 50s, we see life depicted in monochrome black-and white. As his ‘world of erotica’ takes off with a string of clubs, stage shows and men’s magazines, the visuals grow more brash, descending into full-blown vulgarity by the 90s.

A figure of public contention, often accused of degrading women we see in this film, however, his position in Britain’s sexual revolution of the time. As sex rapidly loses its taboo status on the one hand and censorship is relaxed on the other, a hardcore world of drugs and prostitution takes over and the feigned glamour of Raymond’s early lifestyle is ripped away. What is left is an ugly reality, one that is much lonelier than he ever imagined.

The unpredictable Michael Winterbottom presents a fascinating picture of Paul Raymond in The Look of Love. As Raymond’s identity was scrupulously constructed through his interaction with the media, there was little room to view the man without the showmanship, but here we get a vivid insight into his character. Steve Coogan, although sometimes slipping into ‘Alan Partridge’ mannerisms adds lashings of wit and charm to his role as Raymond.

Winterbottom is never one to settle into a comfort zone. Now after tackling the biopic, he can add another genre to his impressive catalogue of directorial successes.

 

 

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