Separate Lies

Tags

2000's, Drama, Emily Watson, John Neville, Julian Fellowes, Linda Bassett, Rupert Everett, Separate Lies, Tom Wilkinson

Film Title

Separate Lies

Director

Julian Fellowes

Starring

• Tom Wilkinson as James Manning
• Emily Watson as Anne Manning
• Rupert Everett as Bill Bule
• Linda Bassett as Maggie
• John Neville as Lord Rawston

A refined and yet thorny examination of love, infidelity and loyalty, Separate Lies is quite an engaging drama, with a good script from Julian Fellowes, who debuts as director and the work from the main principal actors.

James and Anne Manning are a well-off married couple who divide their time between London( where James works as a top barrister) and a house in Buckinghamshire. James likes to think of himself as an honest man who believes in the truth, though he can often be compulsively needy in having things in order and chastising those who don’t meet his standards. Anne loves her husband, but has grown tired of the boredom of life when he’s always away and also the repetitive nature of doing most things for him. It isn’t quite the idyllic life that from the outside it appears to be. Into their lives comes Bill Bule, the son of a local Lord. He is a devil-may-care man who catches the attentions of Anne, without James realising. Around this time, the husband of the couple’s cleaner, is struck by a speeding car that fails to stop. The man dies shortly after due to the injuries sustained. Anne takes an interest in helping Maggie deal with her grief and James is bewildered as to why. There is some talk that the car that hit Maggie’s husband was similar to the one owned by Bill, which sets the suspicions of James running wild. Things come to a head when Anne reveals bluntly that she has been having an affair with Bill, as well as the fact that it was her who was driving when was hit. Shattered by these twin revelations, James is sent into a tailspin. Even though Anne wants to tell the police of her involvement in the death of Maggie’s husband, James, thinking of his own reputation and the wife he still loves, persuades her not to. Keeping this dark secret on the down low is soon proving hard for everyone, even the usually cavalier Bill. Everyone in the damaged picture finds themselves doing battle with their feelings, especially James, who is caught between helping his unfaithful wife and thinking of his own back.

Julian Fellowes does quite an excellent job at directing this cool yet quietly piercing story. His strongest suit is exploring the aftermath of lies and the desire to keep things secret. If there’s q fault in his work, it’s that he sometimes doesn’t scratch the surface enough. He does have an acute eye for the minute details of behaviour, but some of Separate Lies may have gone on to be more substantial if it hadn’t been so polite. It does border more than a little on the overly genteel side and could have been a bit more forthcoming, and yet the subtleties of a lot of it did manage to make their bright presence felt. Separate Lies often feels a bit cold at points, but the largely dispassionate view it takes of the characters is still an interesting one that doesn’t fall into melodrama. It presents the characters as ones with many faults and whose choices are ultimately what changes and shapes them in ways that will have fatalistic consequences. There is no character to easily identify with because your loyalty, much like James and Anne’s actions, are ultimately conflicted and go between different people and extremes. It’s commendable that the script allows the roles to be flawed as it avoids the trap of getting us to side with one person more than the other. We are left to make our own minds up about the people who populate Separate Lies and what they all register in terms of emotion from us. The trickling sadness of the score is used sparsely but very efficiently, making certain scenes really stand out.

Tom Wilkinson, who for my money can always be relied upon for a stellar performance,  does it once again here. He gets the right amount of selfishness and critical thinking mixed with a desolation that lies below the buttoned up existence of barrister James. This is a man whose life is all about order and being in control, so when it spins off course, he is galvanized into making a difficult choice after being left to flounder. The dilemma he faces is beautifully and strongly performed by Wilkinson, who suggests a lot about the hurt and how he must let his emotions come out after being under wraps for so long. No less his equal as the seemingly dutiful wife is Emily Watson, who houses desire and bitterness within her being. Watson deftly plays Anne as a woman of many contradictions; in me breath she is regretful and destroyed by her actions and then almost ambivalent and apathetic about her indiscretions. It’s a difficult task to accomplish, but Emily Watson does it with a depth and surprise that makes it very believable and real. The moral quagmire of James and Anne is simply marvellous to witness with Wilkinson and Watson at the top of their game in the acting stakes. Rupert Everett features as the rich cad and provides the catalyst that has a severely deep and shattering impact on all. The role doesn’t really call for much in the way of development, though Everett still makes it watchable. In supporting roles, Linda Bassett as the cleaner with a possible hidden agenda and John Neville as Bill’s stately father, do pretty good stuff in their respective parts.

A bit more oomph may have benefited Separate Lies, but the outcome of it is a largely arresting and melancholy movie that deserves attention for the way the characters are written and the strong performances from the cast, in particular the fascinating leads of Tom Wilkinson and Emily Watson.

Cassandra’s Dream

Tags

2000's, Cassandra's Dream, Clare Higgins, Colin Farrell, Drama, Ewan McGregor, Hayley Atwell, Sally Hawkins, Thriller, Tom Wilkinson, Woody Allen

Film Title

Cassandra’s Dream

Director

Woody Allen

Starring

• Ewan McGregor as Ian
• Colin Farrell as Terry
• Tom Wilkinson as Uncle Howard
• Hayley Atwell as Angela
• Sally Hawkins as Kate
• Clare Higgins as Dorothy

A dramatic thriller from Woody Allen that suffers from odd pacing, a none too special script that rehashes old ideas Allen has explored in other movies more successfully and lack of involving events, Cassandra’s Dream had currency but nearly every element conspires against it and we’re left  watching a sub par film from a talented director.

Ian and Terry are two cockney brothers; the oldest Ian helps his somewhat  lax father in his restaurant, whereas Terry works as a mechanic in a local garage and is engaged to the sweet Kate. What binds both of the brothers is the sense of financial dissatisfaction. This is heightened even more when Ian meets the beautiful but demanding actress , who he becomes very attracted to. Having always had aspirations to set up hotels in the Suns of California, inspires Ian to make some money to fulfill his dreams but also benefit her in the long run. Terry, who is prone to booze and excessive gambling despite being a well-meaning man, falls into debt and owes a lot of money to loan sharks who know how to hurt. With both brothers desperate for monetary stability and fast, help seems to come in the shape of their Uncle Howard, who they have always looked up to. He has helped the family in the past and being a self-made man, has worked his way up to being a millionaire. Yet for all this hard work, a lot of his deals have been on the very shady side. He agrees to endow his nephews if they first do one thing for him. It appears that one of Howard’s associates is threatening to expose some of his less than savory antics. The cunning and sinister Howard says the only way to stop his crook tactics in business from being exposed is to have the man killed, which he asks Ian and Terry to carry out. Both brothers are shocked by what he is asking them to do, but both come round to the idea( despite Terry becoming still twitchy about the lack of morality.) The brothers eventually manage to carry out the murderous deed successfully, but it begins to change their relationship. Ian, who wanted the money to keep up with high maintenance Angela, decides to think as if nothing happened as he becomes enamoured with the lump sum coming his way. On the other hand, Terry becomes eaten up by unspeakable guilty that consumes him more and more each day that leads to the shattering of him and his brother’s close friendship and spells very bad circumstances for both men.

While it must be stated that Woody Allen is a very gifted director and writer, Cassandra’s Dream doesn’t really paint his talent in the best way because of a number of issues and inconsistencies. You see Cassandra’s Dream is billed as a dramatic thriller with a morality theme at the centre(much like many of Allen’s later movies), yet it is curiously neither thrilling or dramatic. Granted, there are a few scenes with a bit of tension, yet none of them feel very suspenseful or at all that riveting. The way that the pace varies from very quick to a snail-like drudge does not help matters whatsoever. Cassandra’s Dream may be set in London like Match Point, but whereas that movie really had an urgency and dealt with themes of ambition, a sense of wealth and the cruelty of life, the same can’t be said of this misstep. A lot of it feels very clichéd and unlike some of his other work, many characters aren’t interesting enough as people to invest in or relate to. Thankfully there is at least some respite to be found in a gloomy visual style and a moody score from Philip Glass, that lends a degree of darkness to the film which it sorely lacks throughout a lot of it.

One other thing that keeps Cassandra’s Dream at least bearable is most of the cast, who rise above the somewhat checkered source material to turn in good work despite the script’s shortcomings. Despite them both sporting dodgy cockney accents, Ewan McGregor and Colin Farrell impress the brothers in predicaments and torn apart by their actions. Ewan McGregor makes Ian likable and the most ambitious of the two, who seems to become more avaricious after committing murder and wanting the good life. Colin Farrell is the real standout, wearing his heart on his sleeve as the nervous Terry. Never has Farrell shown so much vulnerability and gentleness before, but here he really makes quite the impact with this change of pace as the emotionally tormented man forced into a dire situation that ruins him from the inside. As excellent as Tom Wilkinson is as the scheming and blackmailing Uncle Howard, I would have preferred to see more of him as I am a big fan of Tom Wilkinson. That doesn’t mean that he was bad here, he is far from it, he just feels shortchanged and not featured enough in the story, especially as his actions have a lot of effect on the story. Despite the underwritten nature of their characters, Hayley Atwell and Sally Hawkins do their best as the demanding, opportunistic Angela who bewitches Ian and the caring and tolerant Kate, who starts to worry for boyfriend Terry. The same can’t be said of Claire Higgins who is criminally wasted as the boy’s mother.

With little in the way of thrills or tension, Cassandra’s Dream falls very flat and despite some good parts, none can make up for the disjointed quality of what ranks as one Woody Allen’s weakest outings as director.

Duplicity

Tags

2000's, Caper, Clive Owen, Denis O'Hare, Duplicity, Julia Roberts, Paul Giamatti, Romance, Spy, Tom Wilkinson, Tony Gilroy

Film Title

Duplicity

Director

Tony Gilroy

Starring

• Clive Owen as Ray Koval
• Julia Roberts as Claire Stenwick
• Tom Wilkinson as Howard Tully
• Paul Giamatti as Dick Garsik
• Denis O’Hare as Duke Monahan

A devilish romantic spy caper, Duplicity is bolstered by the star appeal of Clive Owen and Julia Roberts. And while enjoyable and witty, it become too convoluted and complex for its own good, that seriously leaved you feeling a bit duped by the end. Still it does have a lot to be enjoyed, it just thinks it’s cleverer than it is.

Ray Koval and Claire Stenwick are both former agents; him for MI6 and her for the CIA. They now work as corporate spies for two rival companies, headed by the smart Howard Tully and the over exaggerated Dick Garsik who are constantly in competition and trying to get one up on the other. The thing is that Ray and Claire both have a past together romantically, as we see in flashback when their cases have crossed over the years. Yet both of them have a mutual distrust for one another because of the spy business and the playing of each other during these various encounters around the globe. Now, they both have a plan to con their respective companies for some major new product that could be super lucrative for each of them. This con that they plan to pull is extremely complex and tense as it could go very wrong if someone is caught. But with unease over trust and double crosses along the way in this dangerous game, who is playing who and will Ray and Claire’s personal feelings of sparky romance get in the way of the job in hand?

Now it must be said that Tony Gilroy contributes stylish direction Duplicity. Through split screens and visuals, he crafts an atmosphere laced with deception and humour. There is a lightness to his direction that ties in with the caper aspects of the tale. His script is slickly written and contains many a great scene of romantic banter and innuendo along the way. The wit is a clear highlight of the movie as it crackles between Ray and Claire whose relationship is mutually distrustful and doubting. Though I’m a big fan of twists, Duplicity ultimately goes overboard with them. Yes some of them come off as effective, but there really wasn’t any need for so many as it causes the film to feel cluttered. What should have really been a breezy film with a couple of double crosses becomes something of a muddled mess that could have been trimmed down. On a technical side, Duplicity at least looks great and has that old-fashioned feel of a caper from the 50’s or 60’s. A jazzy score, punctuated by exotic waves romance and cool suspense, manages to keep interest even when the story gets out of hand.

Despite the complicated nature of Duplicity, the cast assembled shines and brings a sense of credibility to it. Clive Owen does the smooth-talking, handsome guy shtick very well while bringing dashes of dry humour to the character of Ray. The chemistry he shares with Julia Roberts is electric and filled with sexual tension as the two dance a tango of uncertainty and passion. Julia Roberts also walks away with a great performance as Claire, who is smart, efficient and can be very calculating when it comes to the business.Tom Wilkinson and Paul Giamatti as feuding business heads have a clear hoot here and their distinguished presence is felt in the scenes in which they are present. The two guys are real gems of the supporting cast and their slow motion fight that covers the opening frames is comedic fare to say the very least. Denis O’Hare is on great form as another corporate spy involved with the dangerous game of cat and mouse at stake.

So it may be a slickly done spy film and boast some very engaging performances, I just wish that Duplicity hadn’t tried to be so overly clever because it really detracts from the good parts of the movie.