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Posts Tagged ‘Kristin Scott Thomas’

Kristin Scott Thomas, Patricia Clarkson, Bruno Ganz

“THE PARTY” My rating: B

71 minutes | MPAA rating: R

With a running of time just over an hour, Sally Potter’s “The Party” plays like a classic one-act play, filled with slamming door exits, fiercely funny wordplay and wonderfully brittle, self-delusional characters.

Potter,  the British creator of films like “Orlando” and “The Tango Lesson,” specializes in gender issues and anti-establishment politics.  “The Party” embraces all that while remaining bitterly hilarious.

In the film’s first shot a frantic looking woman (Kristin Scott Thomas) yanks open her front door, stares momentarily at the visitor on her stoop (the camera takes the vantage point of the guest) and points a pistol at us.

We then flash back 70 minutes.  That same woman, Janet, is busily futzing around the kitchen, preparing to entertain some old friends. Her husband Bill (Timothy Spall) sits in the living room, wine glass in hand, deejaying old blues and experimental jazz LPs. He has the look of a  shell-shocked combat vet.

One by one the visitors arrive and we gradually learn what the celebration is about.  After years of struggle as a party faithful, Janet has been named head of the country’s Ministry of Health. She is constantly interrupted by congratulatory phone calls, including several heavy-breathing text messages from an unidentified lover.

The deliciously catty April (Patricia Clarkson) is allegedly Janet’s best bud. As an American she takes a withering outsider’s view of Brit politics…but then she’s withering on just about every subject. Asked to evaluate if Janet’s new job has transformed her in any way, April observes that her friend now is “slightly ministerial in a post-modernist, post-feminist sort of way.”

She’s even harder on her boyfriend, a blissed-out, New Age-y German life coach named Gottfried (Bruno Ganz) who so adores her that he puts up with a constant stream of abuse. April announces that she intends to dump Gottfried that very night: “Tickle an aroma therapist and you find a fascist.”

 

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Gary Oldman as Winston Churchill

“DARKEST HOUR”  My rating: B

A confession.

I’ve often found Gary Oldman  a shameless scenery chewer. Villainous roles were especially problematic; you could actually see Oldman twirling his mustache, metaphorically speaking.

2011’s “Tinker Tailor Soldier Spy” gave us a more settled, thoughtful Goldman, who portrayed John LeCarre’s good gray spookmaster George Smiley with an admirable degree of restraint.

Now, in  “Darkest Hour,” Goldman tackles the iconic role of Winston Churchill, and it’s a match made in heaven.  Sir Winston was, after all, no slouch at scenery chewing; yet Oldman’s performance here is subtle and balanced, a deft blend of  bombast and inner activity.

It’s a performance of such insight and power — abetted by David Malinowski’s spectacularly effective makeup design — that it immediately propels Goldman into the front ranks of this year’s Oscar contenders.

Joe Wright’s film centers on one month, May of 1940, when the long-out-of-favor Churchill was elected Prime Minister after the collapse of Neville Chamberlain’s ineffectual government.

The P.M. is faced with seemingly insurmountable problems. The Nazis have taken over much of Europe and are pounding the British army at Dunkirk. If those 300,000 or so soldiers are captured or killed, it will leave Great Britain defenseless.

Voices within his own party are urging Churchill to sue Hitler for peace. It’s the only way to escape a bloodbath and an armed invasion.

Churchill doubts that Der Fuhrer is in any mood to grant concessions. If only he can save the troops waiting on the French coast, galvanize public opinion, and overnight turn his country’s prevailing ethos from dovish to hawkish. (more…)

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“LOVE CRIME” My rating: C+ (Opening Oct. 28 at the Tivoli)

104 minutes | no MPAA rating

They’re speaking French in “Love Crime,” but in just about every other respect this a decidedly non-Gallic movie, a formulaic “thriller” that has Hollywood’s thick fingerprints smudged all over it.

At least this effort — the final film from the late director Alain Corneau (“All the Mornings of the World”) — can boast of bilingual thesp Kristin Scot Thomas in wicked witch mode. That, at least, is something to see.

Scott Thomas plays Christine, a vice president at a French multinational company. She’s suave, well-heeled, charming (when it’s called for) and utterly ruthless.

Always at her elbow is the prim, proper Isabelle (Ludivine Sagnier), who seems not to have much personality of her own. Utterly capable and equally nonglamorous, Isabelle appears to live vicariously through her older boss, happily diving into whatever chore needs doing and observing –with just a hint of yearning — as Christine beds their associate Philippe (Patrick Mille).

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