Isn't It Romantic?
Photos by David Appleby
WHEN NURSE BETTY WAS RELEASED IN THE FALL of 2000, critics both pro and con asked whether director Neil LaBute had gone soft. He hadn't: For all her sweetness -- and knowing LaBute, because of it -- Renée Zellweger's soap operamad innocent underwent a drubbing at the hands of her mostly male exploiters that was all of a savage piece with the sexual politics in In the Company of Men and Your Friends & Neighbors. Whether one thinks of LaBute as a cynic or a rigorous moralist plumbing the depths of human depravity -- his sadism toward his characters can be smug, even crowing -- there's no denying his intellect or his willingness to strike new ground. In Nurse Betty LaBute also unveiled a side of himself we hadn't yet seen: the giddy romantic. Or maybe just the Hollywood director for hire. It wasn't clear which, but either way qualifies LaBute as the official movie interpreter of Possession, a Booker Prizewinning novel by British writer A.S. Byatt.
Byatt's 500-plus-page tome, a time-traveling tale of parallel love affairs, one between scholars slowly atrophying in stuffy late-20th-century academe, the other an illicit liaison between Victorian poets loosely based on Robert Browning and Elizabeth Barrett Browning, is as ambitious as it is marketable. Studded with breathy letter writing and some pretty good faux-Victorian poetry, the novel is also a meditation on the idea of Romance in literature and life. Byatt advances the clever but hardly original claim that the Victorians approached love and sex with more matter-of-fact candor than we dreary moderns can muster, precisely because they lacked our dubious freedom to distance ourselves from both subjects with endless chatter. At its best, Possession traffics in the power of lyrical language to stimulate, challenge and seduce, a power we've lost in today's babel of talking heads and talk-show participants. Like most period pieces, the book rewrites the past into an argument against the present.
LaBute has skillfully pruned away an unwieldy cast of supporting characters, as well as the novel's loftier digressions, so that Possession ends up framing the pressing Hollywood question of how long it will take for Gwyneth Paltrow to shake down her golden hair from its prissy bun. Paltrow plays Maud Bailey, a buttoned-up professor of gender studies at a provincial English university, whose specialty is the work of Christabel LaMotte, a free-thinking gothic poet from whom Maud is descended and who, according to Maud's trendily analytical research, passed her days in happy proto-feminist rural seclusion with her lesbian lover. Maud is not amused when Roland, an impoverished young research assistant played by LaBute's longtime lead actor Aaron Eckhart, shows up with two suggestive letters written to LaMotte by Randolph Henry Ash, a grand old man of Victorian poetry long believed to be a devoutly monogamous husband. Overcoming an initial mutual dislike (he thinks she's an ice queen, she distrusts men, both are sexually screwed up to the point of paralysis), Roland and Maud track down the rest of the correspondence and, with other deviously interested parties in hot pursuit, follow a trail of lovers' trysts in the English and French countrysides.
Cutting back and forth between the two couples, LaBute keeps faith with Byatt's sense of the past as a place to repair and fulfill the pent-up yearnings of an allegedly liberated present. Cinematographer Jean-Yves Escoffier has lit the Victorian sequences with a vibrant pre-Raphaelite glow, and Jennifer Ehle, who plays LaMotte, reliably unleashes her slow, radiant Madonna smile -- the one that so bewitched audiences who saw her in television's Pride and Prejudice -- on Jeremy Northam's Ash, who is all brooding dark eyes and sexily wayward forelock. The two actors work some mild romance-novel magic together, but they're exactly who you'd expect to see cast in a production of this kind, as is Paltrow's Maud, enunciating capably in letter-perfect upper-class Brit and defrosting nicely as she warms to her ancestor, and to Roland. The lone exception to all this BBC casting is Eckhart, who, transposed here from a working-class Englishman in the novel to a brash American, sticks out like a sore thumb. One expects LaBute to have some serious fun with this incongruity, but this Roland is no more than a regulation commitment-phobe, as well as a butt for some rather limp American-baiting that pales before Byatt's contempt for all things transatlantic. And only in one scene, an agonized confrontation between Ash and LaMotte at a séance, do we catch a glimpse of LaBute's old obsession with the gender wars; it's as though the director is determined to erase all trace of himself from the project. Watching Possession is a movie experience not much deeper than you'd get on your couch watching Masterpiece Theater or Mystery! -- pleasant enough, but oh so soft.
IN THE OPENING SEQUENCE OF CLAUDE Chabrol's sly, supple new film Merci Pour le Chocolat, Marie-Claire ("Mika") Muller (Isabelle Huppert), heiress to a wealthy Swiss chocolate-making fortune, meets and greets at a reception following her second marriage to André Polonski, a famous pianist. Around her, expensive tongues wag with discreet gossip about the couple's separation, the mysterious death of Polonski's second wife, Lisbeth, and the viability of the remarriage. Mika holds herself aloof, her face a mask of self-satisfied inscrutability laced with the hint of a slightly derisive smile as she plots with her accommodating stepson, Guillaume (Rodolphe Pauly), to slip away home, a quiet, graceful, well-ordered universe designed to facilitate Polonski's piano playing. Smooth and eager to please, continually effacing herself, Mika makes the trains run on time, and when Jeanne (Anna Mouglalis), a promising young pianist who has just learned by way of yet another loose tongue that she may have been switched at birth with Polonski's son, shows up uninvited at the front door, Mika warmly receives her without batting an eyelid -- and promptly spills a flask of hot chocolate, the family's nighttime treat, over Jeanne's sweater.
Welcome to the Swiss bourgeoisie, where great wellsprings of underground anxiety, rage and resentment seep through the walls of placid propriety and convention. Though it's based on a novel by the American mystery writer Charlotte Armstrong, Merci Pour le Chocolat is a particularly French thriller: Genre serves more as a frame for philosophical speculation (in this case, the middle-class psyche) than it does for action. No one dies onscreen -- the nearest thing to spilled blood is the stain of chocolate spreading over a floor -- and nothing seems to burst the bubble of complacency in which this family floats. The story proceeds, by minuscule tonal shifts and barely perceptible changes in the atmospheric temperature, from touches of ghoulish comedy -- Polonski and the protégé "who makes [him] feel young again" perfecting her performance of a Liszt funeral march -- to the creepy stillness of death that pervades the house. Chabrol teases us with physical resemblances: Guillaume looks like his father, Jeanne like the long-dead Lisbeth. (Huppert, for her part, is magnificent, an enigmatic echo of her twisted musician in Michael Haneke's horribly grandiloquent The Piano Teacher.) In the end, what matters is not so much what Mika has done or will do, or even whom she has fooled, as the willingness of those in her orbit to fool themselves. "Instead of loving," she says, "I say 'I love you,' and people believe it."
POSSESSION | Directed by NEIL LABUTE | Written by DAVID HENRY HWANG, LAURA JONES and LABUTE | Based on the novel by A.S. BYATT | Produced by PAULA WEINSTEIN and BARRY LEVINSON | Released by Focus Features | Citywide
MERCI POUR LE CHOCOLAT | Directed by CLAUDE CHABROL | Written by CAROLINE ELIACHEFF and CHABROL Based on the novel The Chocolate Cobweb by CHARLOTTE ARMSTRONG | Produced by MARIN KARMITZ | Released by Empire Pictures | At Laemmle Royal, Laemmle Playhouse 7
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