Dingle in Ireland is more or less as far as you can get from Wales (or Dublin), but never mind. Anna must meet her co-star, Declan, played by Matthew Goode as the owner of the local pub.I suspect business has fallen off ever since Robert Mitchum left after filming "Ryan's Daughter" there in 1969. In the pub, she asks Declan how she can get to Dublin.Despite canceled ferry boats, she makes her way to Ireland by hiring a tugboat.The skipper says they can't land at Cork but must head for Dingle.This month saw the return to our screens of British television giant Stephen Poliakoff, with Dancing on the Edge, about a black jazz band making their way into upper-crust society during the 1930s.Poliakoff chose to lead his typically impressive cast for this five-part drama with one Matthew Goode.A sort of conspiracy forms between the audience and the screen: We know what has to happen, and the movie knows what has to happen, and the point is to keep us amused. He’s pleasant, attentive, presentable, and shares her goal of buying a condo in the best building in Boston. After dashing her hopes yet once again, he hurries off to Dublin for a cardiologists’ convention.
The premise becomes a mere platform for Anna and Declan's sweet, simmering courtship, and I found something that eludes most romantic comedies: romance.
I dreaded seeing Leap Year after I watched the trailer — the premise looked unimaginative and sexist.
Anna (Amy Adams) is ready to get married, so she seizes on a tradition her father tells her about: in Ireland, women "can" propose to men on the day Leap Year falls on, Feb. Her journey to Dublin to chase down her boyfriend ends up as a series of pratfalls with handsome, devil-may-care stranger Declan (a gorgeously unkempt Matthew Goode).
But good luck convincing Goode that he'd be anyone's first choice, for anything."He wrote this brilliant character which he said he had only me in mind for – I don't know whether he's lying," says the 34-year-old, with jolly self-deprecation.
A fan of Poliakoff's output, he considered working with him a "rite of passage" for an English actor. It was from the ridiculous to the sublime."That 'ridiculous' refers to the casting for the other project I've met him to talk about, Stoker.