512kRxz132LConfetti (2006) is a highly improvised film directed by Debbie Isitt.


Three couples are competing for most unique wedding in effort to win a new house and be on the front cover of Confetti magazine. The judges quickly realize what a disaster they have on their hands, and the wedding planners are left to clean up the mess. Somehow they manage to pull off three radically different weddings taking place in the same venue one right after the other.

I admit that I rented a copy of Confetti (from Facets) based on the cast without reading the synopsis. It stars Martin Freeman, Jessica Hynes, Robert Web, Olivia Colman, Stephen Mangan, Vincent Franklin, Jason Watkins, and Jimmy Carr, with appearances by Julia Davis, Mark Heap, and Sarah Hadland. Against all the star power, Jason Watkins really manages to steal the movie. He and the ever-malleable Vincent Franklin play the wedding planners who struggle to deal with a mom and sister who try to take over the wedding, a tennis couple who get pulled apart by a hot tennis instructor named Jesus, and  naturalists who the magazine want clothed (Robert Webb was under the impression that his privates would be pixelated and discovered during the cast and crew screening that they weren’t).

Confetti is a highly improvised mockumentary, cashing in on the hot realism style that exploded during the early 2000s, only five years after The Office started. In an episode of RHLSTP, Robert Webb says:

What I gather from people who’ve worked in other improvised films is that they rehearse and they rehearse and they rehearse and they rehearse, and eventually there’s something you call a script, and then they shoot that, and that’s the film. What we did was talk and talk and talk and talk about the nudity issue (or the other couples, Stephen Mangan, lots of brilliant people in it, talk about their characters), and then they turn up, they get into costume, and then they’re on the set and Debbie Isset goes, “This is the scene,” because she’s worked out everything but secretly, not telling anybody what’s going on, because the process is obviously more important than the outcome. She would go, “So, the scene is you’re going to have an argument about the tennis and then there’ll be a row. Go.” So you do a twenty-minute take and then you hear eventually, “Cut.” You go, “How was that, Debbie?” and she goes, “I suppose I’ll find something in the edit. We’ve got to move on.” That’s everyone else. Colly [Olivia Colman] and I were doing that but naked.


It may not be the most brilliant film of 2006, and certainly not nearly as original as the weddings contained in it, but despite the strange process that Webb describes here, the film is surprisingly comprehensible and funny.



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