moving out... lock, stock and two streaming nostrils.
moving out... lock, stock and two streaming nostrils.
Member since:08.12.2001
Reviews:123
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Maybe it’s because I was less than complimentary about Billy Crudup’s rather functional perfomance in Big Fish, or perhaps I was just in a sentimental mood as I settled down to watch this theatrical little tale, but I left it rather moved. No genius here, but a lot of heart made it something worth watching, if not an urgent recommendation.
Seventeeth century English law decreed that it was illegal for a woman to take to the stage. As such, some male actors would specialise in playing women’s parts. Billy Crudup takes to the screen as Ned Kynaston, a beloved star of the stage, famed for his Desdemona, supported and secretly worshipped by his plucky dresser, Maria (Claire Danes). Her suppressed passion to emulate the object of her desire on the stage is finally given its outlet when one theatre takes the risk of putting a woman, Maria herself, on stage, in nothing less than the prized role of Desdemona. Enter a variety of characters from famed diarist Samuel Pepys (Hugh Bonneville) to Charles II (Rupert Everett) himself and his unstoppably coarse mistress, Nell Gwynn (Zoe Tapper) and Kynaston’s life and work are turned upside down as his star is quickly eclipsed by Maria’s…
As ever, it makes sense to look at
the performances first. Billy Crudup has the Herculean task on his hands of being both actor and performer, and showing all sides of Ned’s character, on-stage and off. He manages admirably, drawing out both the hero and the petulant drama queen, both the woman and the man. His English accent is about 90% faultless (far better than average, in other words, and he resists overt stateliness, even in the performance of Shakespeare). His Ned goes from self-assured, smug prima donna through all the peaks and troughs of triumph and humiliation (including a rather brutal lesson learned about the consequences of a sharp tongue) to a complete character renaissance… it’s Ned’s lesson to learn that he need not choose to be either man or woman, but just himself, whoever that is.
Claire Danes puts in a typically emotional performance, but is remarkably likeable as the slightly hysterical Maria. Her honesty and humanity are allowed to shine through, and, like Crudup, she allows a vein of natural humour to shine through. This is quite unlike the rather forced comedy of Shakespeare in Love, and despite being just as predictable, the passion, drama and tragedy are far more natural. The chemistry between the leads is obvious, even if Crudup outshines an occasionally tiresome Danes. Much was made of the leads’ real-life romance at the time; perhaps the tension added to the performance. Despite odd irritating moments and a certain uncertainty of accent (not so much veering to American as veering between cockney and upper-class), there are genuinely funny moments (her first legitimate audition) and genuinely moving times.
Among the supporting cast there are few surprises. Bonneville is joined by Tom Wilkinson (as the beleaguered owner of the theatre) and both turn out a good line is stuttering Englishness. Nothing new, but if not fresh, then not quite a rotting cadaver of a performance just yet. Certainly they are not to blame for the tired lines, and they invest them with humour and warmth. Zoe Tapper provides a lively and bright performance (and you thank heaven it’s not Julia Sawalha), and Rupert Everett is business as usual (given that he’s played both Kings Charles, do you think he’d stretch to Prince Charles if we promised he didn’t have to wear the comedy ears? The voice is half way there). The only slight surprise is a smooth, aristocratic turn from Ben Chaplin. In other words, the support is solid as a rock, and allows some freedom of movement for the leads.
That is, it would if the script were a little brighter. Jeffrey Hatcher adapts his own play, and some of it, it must be said, is rather lacklustre. It’s certainly achingly predictable. But… and it’s a big one, as buts go… there’s still something to it. I can’t put my finger on what allowed me to be drawn into this film and enjoy it, but I strongly suspect it had something to do with the magnetism and charisma Crudup forced into the words. One scene in particular stands out; asked a slightly embarrassing question in bed, Kynaston grins awkwardly and breathes out: “riiiiight…”. His easy charm livens what could be outrageously dull dialogue.
The other key to the enjoyment factor is perhaps Richard Eyre’s simple direction. An esteemed stage director he draws the best from the stage-bound scenes but keeps to unobtrusive and visually compelling direction throughout. He moves quite seamlessly between gentle, misty landscape shots and speedy, almost documentary movement, switching then to unflinching close ups of a body undergoing the wracking spasms of agony. Finally, George Fenton’s score is unassumingly complementary, and much like most of the film, admirably solid (dare I say that the whole film typically British in its solidity? Or will I get lynched for that?).
So three stars it is, because I can’t say it was a stunning film, but I can’t say I didn’t enjoy it. Swept along on its gentle waves of predictable good nature, and duly impressed by Crudup’s range (if not by his frighteningly angular looks) and Eyre’s eye for the beautiful, I was entertained, amused, even moved. A nice, middle-of-the-road unchallenging but likeable bout of time-passing it was too. Oh, and as a mild warning, there’s a vein of Carry On lewdness running through the film, the odd bit of nudity and sexual reference does appear here and there. I’d be surprised if it raised any eyebrows, though.
Certificate 15 Runtime 110 mins
Alex xxx
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Production Year: 2002 - Drama - Director: Michael Caton-Jones - Original Language: English - Classification: 18 years and over - Starring: Robert De Niro, Frances McDormand, James Franco, Eliza Dushku, William Forsythe, George Dzundza, Patti Lupone
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gREAT op! Is it me or is Billy Crudup really cute? ;) xx
ElizaF 01.01.2005 17:10
IS this an old or a new film, it seems to have been around for a while? :) xx E.
danielse 29.12.2004 22:04
I was also disappointed in Billy for Big Fish, but the unforgivable thing was for him to leave the delicious and heavily pregnant Mary-Louise Parker for the frankly insipid Claire Danes during the making of this movie. Sadly, it's put me right off seeing it.
London 1660's, and actor Ned Kynaston (Billy Crudup - Almost Famous) is sitting pretty; ... more
the brightest star in restoration theatre. Women are forbidden to appear on stage, so the beautiful, brazen Ned shines in all the great female roles. Maria (Claire ...
She was the first of her kind. He was the last of his. England the 1660s: in the time ... more
when women's roles in live theatre are all played by men England's celebrated leading 'lady' is Edward (Crudup) who uses all his beauty and skill to make the parts...
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Dec 19th, 2004
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