by Glenn Lovell
Helmer-scripter John Huddles, a much-traveled Yank who describes himself as a student of Buddhism, would have us believe such vagaries are intentional, that this is supposed to be some timeless, hermetically sealed stage on which important spiritual issues are resolved. But pic's earthy setting and larky tone work against ethereal philosophizing. What we're left with is a good-humored, feature-length indoctrination, Peter O'Toole's "The Ruling Class" without the biting sarcasm.
Driver, really a supporting player, appears as a Brit power suit engaged to the hero of the piece but carrying a torch for another. Rufus Sewell is center of interest here, playing a befuddled type who dreams of cornering the market on manganese. Though his character eventually loses his way, spiritually and in story terms, Sewell invests him with the manic, quixotic charm once associated with Alan Bates.
Nigel Hawthorne, also doubling as exec producer, gives another modulated tour de force, this time as a maddening, aphorism-spouting uncle who resides on Satchem Farm. He's either batty or a blissed-out reincarnation of Simeon, the saint who did penance atop a pillar. He repeats this show of grandiose asceticism to gain "the far perspective" in film's contrived, mechanically uplifting climax.
Tech credits are generally good, with Huddles and lenser Mark Vicente helping along the playful tone with swish pans and other camera tricks. Appropriately New Age score is by Jeff Danna, with wall-to-wall songs by Sarah McLachlan, Wild Strawberries and others certain to have cynics in the audience climbing the walls.
