Spoilers herein.
Such promise!
Here is Ewan Mcgregor and the project he made for himself. He has been in two of the finest films of the last decade (`Pillow Book' and `Moulin Rouge'), has some skill and shows commitment to classy projects. Says a lot positive that he became engaged in this, helped create it.
But the project has too many government commissions involved, so a rampant conservatism governs. If anywhere were a place to use adventuresome narrative devices, it is here. If anywhere were a place to engender a tone of sexual hypnotism (and the maturing of the relationship into something tenable between a damaged mind and a relatively illiterate emotional being) it is here.
But, no narrative adventure here, not the slightest hint of Joyce's world. This is a staged book, nothing else. No styled sexual tone here -- it is all left to Ms. Lynch; no help from the director, production designer or cinematographer.
Oh there's some scant hint of expressionism, which is wholly inapt and nothing like the commitment of `Vincent and Theo.' There's a push by Joyce of Nora into a potential sexual adventure. But after Emily Watson in `Breaking the Waves,' this level of angst seems pretty highschoolish.
We are told that Ireland sucks the life out of writers after spawning them in great numbers, that society is extremely class structured, that Catholic mores create guilty, silent promiscuity. That Dublin and these forces will drive the world that Joyce creates and we will consume. That out of this world comes `new words,' in fact a whole new manner of reading.
But we SEE none of it. Why make a film?
Lynch did her best, since she had no help. Wish Kate Blancett was there. McDonald (Stanny) had the best moments, which he usually didn't have the depth to mine, like Sean Penn would have. Ironically, he played the `Nora' role in `Felicia's Journey' just before this project.
One scene is special.
Stanny has discovered Nora depressed and Lucia abandoned. He has consoled her, because he knows how her musky strength anchors his brother's abstract world. He is talking Lucia into eating just a scoch of spaghetti, when Nora bursts in with a positive letter from James. She is in her underfrock, pubis exposed. Completely oblivious to her sex. Stanny is pleased at first: his reconciliation achieved. Then watch his face as he looks at her briefly but closely, and realizes her abandon. He sees more pain coming. And to him as well, `Raging Bull' -wise. (Another friend is drafted for that.) It's a great scene. Wish we had more of it.
Such promise!
Here is Ewan Mcgregor and the project he made for himself. He has been in two of the finest films of the last decade (`Pillow Book' and `Moulin Rouge'), has some skill and shows commitment to classy projects. Says a lot positive that he became engaged in this, helped create it.
But the project has too many government commissions involved, so a rampant conservatism governs. If anywhere were a place to use adventuresome narrative devices, it is here. If anywhere were a place to engender a tone of sexual hypnotism (and the maturing of the relationship into something tenable between a damaged mind and a relatively illiterate emotional being) it is here.
But, no narrative adventure here, not the slightest hint of Joyce's world. This is a staged book, nothing else. No styled sexual tone here -- it is all left to Ms. Lynch; no help from the director, production designer or cinematographer.
Oh there's some scant hint of expressionism, which is wholly inapt and nothing like the commitment of `Vincent and Theo.' There's a push by Joyce of Nora into a potential sexual adventure. But after Emily Watson in `Breaking the Waves,' this level of angst seems pretty highschoolish.
We are told that Ireland sucks the life out of writers after spawning them in great numbers, that society is extremely class structured, that Catholic mores create guilty, silent promiscuity. That Dublin and these forces will drive the world that Joyce creates and we will consume. That out of this world comes `new words,' in fact a whole new manner of reading.
But we SEE none of it. Why make a film?
Lynch did her best, since she had no help. Wish Kate Blancett was there. McDonald (Stanny) had the best moments, which he usually didn't have the depth to mine, like Sean Penn would have. Ironically, he played the `Nora' role in `Felicia's Journey' just before this project.
One scene is special.
Stanny has discovered Nora depressed and Lucia abandoned. He has consoled her, because he knows how her musky strength anchors his brother's abstract world. He is talking Lucia into eating just a scoch of spaghetti, when Nora bursts in with a positive letter from James. She is in her underfrock, pubis exposed. Completely oblivious to her sex. Stanny is pleased at first: his reconciliation achieved. Then watch his face as he looks at her briefly but closely, and realizes her abandon. He sees more pain coming. And to him as well, `Raging Bull' -wise. (Another friend is drafted for that.) It's a great scene. Wish we had more of it.