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The former Calvin Klein model plays lead role Christian Grey in Sam Taylor-Johnson’s adaptation of the E L James erotic novel, out next year.

But the 31-year-old told ES Magazine he was unfazed.

The songs crop up unexpectedly, often as part of an ensemble, and prove infectiously enjoyable - unless, of course, you have a built-in resistance for this kind of thing. It was really a beautiful moment and this contrast of this beauty with the potential disaster around and then it just slides into sentimental slop for me and I was really disappointed. MARGARET: Look, I think some of the performances are nice but Peter Mullan, I'm sorry, he's just steeped in sentimental clichés in this.

Performances are excellent, with Peter Mullen's heartfelt rendition of "Jean", a song addressed to his wife, a show-stopper. In fact, Stephen Greenhorn was looking for a Scottish musical and he found the songs of The Proclaimers so that the film is actually built around their songs.

Small, intimate musicals not based on big stage productions are so very rare these days that SUNSHINE ON LEITH seems daring when, back in the late 40s, it would have been perfectly normal.

Dexter Fletcher's film tells a series of intimate personal stories against a vivid backdrop of one of the world's most beautiful cities and enhances the narrative with songs by The Proclaimers. MARGARET: I think that was when the film took a bit of dive. MARGARET: Because it starts out so fabulously in Afghanistan in this armoured vehicle and these boys just start spontaneously singing Sky Takes the Soul and I went, oh, this is so unexpected and beautiful. I think he's very good but I can understand why, if you don't like people suddenly bursting into song that this...

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Fifty Shades of Grey actor Jamie Dornan told today how dating Keira Knightley prepared him for fame.

That first series was set during the English Civil War (and starred Michael Fassbender and Andrea Riseborough); this one, to be aired next week, takes place during the Restoration, a period nigh on as bloody and politically fissured, if Martine Brant and Peter Flannery’s script is anything to go by.