This film has won attention for the deserved acting awards at the BAFTAS and the Oscars for Julianne Moore. However, this screening at the Hyde Park Picture House honoured the returning son – co-writer and director of the film Wash Westmoreland was raised in the Yorkshire and later emigrated to the US. So an enthusiastic audience included people connected with his schools, FirTree Primary and Wetherby High School, members of a teen pop band in which he played and cinema regulars. Wash was introduced before the screening and received a warm welcome. He told us he remembered his first film at the Hyde Park Picture House, Bedknobs and Broomsticks (1970), and later (aged 16) coming to see The Deer Hunter (1978). He also started his film career in Leeds on Super 8. We then watched the film written and directed by himself and his partner Richard Glatzer for a combination of US Independent film companies with support from New York State Film Office. The title character is Alice Howland (Julianne Moore) a fifty year old professor of Linguistics at Columbia University. She is married to the successful medical practitioner, John Howland (Alex Baldwin). She also has a married daughter Anna (Kate Bosworth), a younger son Tom, and an unmarried daughter Lydia (Kristin Stewart) who is attempting to make an acting career without going along the educational route. The latter is a cause of dispute between mother and daughter. After several memory lapses Alice goes for consultation and then a number of tests. She is diagnosed with an inheritable form of Alzheimer’s Disease. The inheritable aspect causes concerns for Anna. And Alice’s rapid deterioration in terms of her mental capacity causes concerns and problems for her family. It also has an increasingly negative impact on her work. But the focus of the film is the experience of Alice herself, something that marks this film off from others that have treated the disease. We follow Alice’s increasingly frustrating and disturbing downhill struggle to the point where her daughter Lydia returns to care for her mother when John obtains a new and prestigious post in Boston. The acting in the film is uniformly good, but Moore’s performance stands out. This is a subtle and very carefully judged characterisation. Moore apparently visited Alzheimer Centres and talked to sufferers. So there is a method aspect to the film, as there is in the Lydia’s onscreen performance. Baldwin’s John is brisk, not exactly unsympathetic but wanting to get on with life. The film predominately uses a shallow focus, which supports the concentration on Moore but occasionally also frustrates one’s attention to other characters and actions. As one might expect with this sort of drama there is extensive use of music. This is noticeable but well-balanced in the soundtrack. The script makes use of the character’s linguistic interests to point up the progress of the disease. There are numerous visual and aural motifs that offer a linguistic feel to the film. There are several quotations used: we see a performance of the closing scene of Chekhov’s Three Sisters. And I was pleased to hear an extensive passage from Tony Kusher’s very fine Angels in America. The film closed with a round of applause with practically the whole audience sitting through the entire end credits: though there was a deal of conversation and a few mobile phones on. There was then a Q&A with Wash Westmoreland. The presenter asked a few questions and Wash talked about how he came to work on the film. He and his partner were asked to adapt the book of the same title by Lisa Genova. Wash’s partner had been diagnosed with a degenerative disease – amyotrophic lateral sclerosis. So their life constantly threw up parallels to the story on which they worked. He was full of praise for the cast, including Alex Baldwin and Kristen Stewart, both of whom have ‘reputations.’ He remarked on the use of shallow focus as a way of focusing on Alice and explained that the book relies heavily on internal dialogue. So the film had to develop ways of presenting the point of view of Alice. There were several questions from audience members. He explained that the author drew on her own experience with her grandmother to write the book that they adapted. The book was originally turned down by publishers so she self-published it on the Web. This led to a publishing contract from Simon and Schuster and the book becoming a success. Wash and Richard worked on the script together, taking it in turn on their typewriter – nice to hear of one still in use. There is a speech by Alice in the film to an Alzheimer sufferers’ meeting which Richard wrote, seemingly drawing on his own experience of a degenerative illness. By the time the shoot arrived Richard had ‘lost his ability to speak’; and had to rely on an i-Pad on set. The actual shoot took 22 days, though these comprised from 12 to 14 hours a time. Wash also talked about growing up and later on meeting Richard in LA in 1995. Richard has already directed a film Grief about a couple parted by Aids, and they also worked on other films and television series. Their adaptation followed the book closely (as the Sight & Sound review confirmed). Wash said that the film’s ending was also as in the book, though he and Richard added the extract from Angels in America. I had to leave before the end in order to catch a bus. Otherwise I would have liked to ask Wash to what extent they had deliberately avoided the more unpleasant aspects of the disease. The increasing frustrations of such a decline are well presented in the film. But from personal experience with a family member I know that there are occasions when situations become quite combative: and there are occasions when things get really grim. Apart from one not every explicit toileting mishap the film avoids this. And the process of the disease is not followed to its frequently grim ending. Still Alice is not alone in this. Other films dealing with dementia, Iris (2001), The Notebook (2004) and Away From Her (2006) come across with the same restraint. The most explicit treatment that I have seen of the situation was in a Swedish film, This tasteful discretion is partly explained by the films uniformly treating of families from the various strata of what we call the middle classes: Notebook has the lowest class register. Certainly in all these films the family or characters seem to been economically affluent, relatively well-educated and therefore cushioned from the sharper end of social deprivation. I think a working class tale of dementia would offer a much grimmer portrait.