"28 DAYS" Review
(2000
Director Betty Thomas)
Toxic love? Toxic lust? Wait, didn't I date you in a blackout? Hollywood is much better at making movies about getting loaded than getting clean and a comedy about rehab is pushing it, but both Hollywood and comedy push it all the time. Sometimes it works, and while there are some nice moments in this film, it doesn't work overall. First of all, anyone who goes through rehab watching or worse yet acting out soap operas and in group therapy discussing issues and feelings with family members in full view of the group would probably get loaded and suicide, so I didn't find a lot of cinematic realism here. "28 Days" tries to tell a recovery story while leaving out a widely effective, but admittedly not the only means of helping people break the cycle of chemical dependency, which would be twelve step programs, in favor of chanting inane slogans and singing sappy songs. No wonder this rehab center shows at least one example of a revolving door. The awful truth is, while people in rehab are mostly too raw to be funny, people in twelve step meetings show comedic virtuosity compared to the appalling soap opera sub plot in this film.
Sandra Bullock's Gwen is a party girl who has ruined her sister's wedding on many different levels, not the least of which is a limo crash while driving drunk, and landed in rehab. Neither she nor her boyfriend (Dominic West) take this seriously and she is abashed to find herself dealing with an authentically nasty withdrawal from prescription drugs as well. Steve Buscemi is the treatment director and has the one stand out, completely believable performance in this film.
Viggo Mortensen plays Eddie Boone, a pro baseball pitcher drafted into rehab by his coach because of his problem with cocaine. This is where my life experience collided with the movies. Having been through rehab at least once and having seen literally hundreds of people in rehab, I can honestly say that no one I've ever spoken to in rehab was as lucid or wise as Eddie was and no one I've seen was anywhere near as burnished, handsome or healthy looking. It was another annoying aspect of "28 Days:" we saw the miserably clueless, toxic inmates and then there were The Leads. It built an unnecessary barrier: viewers who have never been near rehab had ignorant stereotypes enforced and as a viewer in recovery I found it at best wildly inaccurate and at worst insulting. As recovery films go, "Clean and Sober" with Michael Keaton (1988) got a lot closer to the truth and "The Basketball Diaries"(1995) nailed it; of course, you can't beat Jim Carroll's original memoir. While I bought Mortensen's pro ball player persona, I did not see him as a cocaine addict hitting the wall. He has the best entrance in "28 Days" however, and during the press for this film, Sandra Bullock confessed that she kept making mistakes deliberately in a scene where she and Mortensen kiss so they had to run the scene again and again. The result is a picture perfect kissing scene in a film that often tests viewer suspension of disbelief and patience.
Ana R.
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28 Days: Review Two
Sandra Bullock portrays an alcoholic in denial that there is anything wrong with her lifestyle. She is both a dramatic actress and comedian - this film is a mix of both, which can be unsettling and odd bedfellows. Viggo Mortensen's role was that of a baseball player also "drying out" in rehab, which is where Sandra's character Gwen winds up after spectacularly wrecking her sister's wedding, i.e. the bridal limousine, the wedding cake with a careless and black-hearted character assassination (of her sister) thrown in for good measure.
The Viggo Mortensen role is very much support but with the suggestion of romantic lead, his character is accessible and non egotistical, a feature of many characters Viggo has portrayed, a very likeable aspect, kind of the opposite to say, Tom Cruise, (who I think Viggo bases his character in "Daylight" on, the man with the gigantic ego, who is despatched early on in the film).
Eddie (Viggo) is well-meaning, fairly open, world-weary and a good judge of character, seeming to only fail himself with alcohol abuse and an apparent case of sex addiction - the one thing that seemed to be going on at rehab that the counselors seemed unaware of. He is also sensitive to having his intelligence questioned, (perhaps as a ballplayer, he has been treated as brawn and not brain too often), and is ever so slightly dangerous. His character is understated and perceptive, laconically seeing even his own flaws (and somewhat resigned about them). Ultimately he completes an enjoyable albeit light film which has many excellent actors including the wonderful, lovable Steve Buscemi and very well-cast Dominic West as Gwen's partner in drinking sprees (the boyfriend that just can't change).
It is a comedy about a serious issue which is a travesty in itself that needs to be overlooked if to be enjoyed purely as entertainment.
PORTRAIT OF A LADY - Review
(1996 Director Jane Campion)
We never love anyone quite so much as when that person is just out of our reach: this seems to be the thesis for Henry James' novel from which this meditation on longing is adapted. "The Portrait of a Lady" is a beautifully acted film and well worth seeing, even for those who detested Jane Campion's previous film "The Piano." Campion's particular touch for genteel excruciation is, gratefully, lighter in this film and the result is a layered, subtle, exquisite period drama.
Honesty is clearly not the best policy in wooing Isabel Archer (Nicole Kidman). Attractive, well educated and recently orphaned, Kidman's Isabel has suitors lining up outside her door and even crossing the Atlantic to ask for her hand in marriage. Marriage, however, is the last thing on Isabel's mind: she wants to travel, experience the mystery and excitement of life, so the proposals from earnest men drive her to tears and then cruelty.
When Isabel's wealthy uncle (Sir John Gielgud) passes away, leaving her a large sum of money, she becomes even more sought after and turns to a talented new friend, Madame Merle (Barbara Hershey) soothed by her musical virtuosity. Merle and Isabel become traveling companions to Italy. Relieved from the pressure of her suitors, Isabel falls in love with the blasé Gilbert Osmond (John Malkovich) who has nothing to offer her and no intention of looking after her best interests, entering unto an unhappy and abusive marriage. There are some fascinating casting choices made, both within and against type for this film: John Malkovich seems right in his element as the Prince of Darkness who hoodwinks Isabel into marriage for her money after she's sent at least two Prince Charmings packing. But is it art?
Barbara Hershey was nominated for an Oscar for her portrayal of Mme. Merle and both she and Malkovich capture the layers of mystery, secret, bitterness cruelty and grief essential to the story. Both Kidman and Viggo Mortensen as Casper Goodwood are always a joy to watch, as each of them are intense and relentless in the pursuit of character and craft. Mortensen, no stranger to playing mysterious, seductive and dangerous men, is the surprise in this film, playing against type as the straightforward, loving gentleman who scares the hell out of Isabel by offering his heart and being willing to wait. The delicate, physical contact between Casper and Isabel speaks volumes. This film richly illustrates how women as well as men love a mystery and the painful process of discovering what love and trust are by first learning what they are not. "The Portrait of a Lady" is easily as distinguished as "Mansfield Park" and both films are not to be missed, particularly by young women.
Colleen Wallace
Portrait of a Lady : Review Two
I have to confess I "didn't get" this film the first time I saw it - I guess I was expecting another "The Piano", the previous film from Jane Campion - my mistake. I thought this was an insipid film compared, but I was wrong. It was a very subtle film, and being predisposed to not particularly liking lime-light hogging stars like Nicole Kidman I was dismissive of her - but she was really good, as was the story.
Nicole Kidman played an intelligent and headstrong young woman. She has many admirers and suitors including Caspar Goodall (Viggo Mortensen). Through a series of plot turns she inherits a large sum of money, and attracts the attention of manipulative people - one of which is played by John Malkovich. She turns to the prospect of marriage, but she is emotionally/sexually inexperienced and mistakes sexual awakening for love - John Malkovichs' erotic and powerful suggestions must be love - because he called it that. Thus she takes a big step in the wrong direction. He insinuates himself into her life, pretty much for sport (shades of "Dangerous Liaisons") and money i.e. they marry, and the marriage is a prison of his making, where he plays malevolent mind-games with her to get his way in all things, all the while pronouncing his behaviour to be still within the confines of "love".
Viggo's character is her most ardent suitor Caspar Goodall, who offered himself to her, but is rejected. He would show up again in her life from time to time, biding his time even, as if he knew one day her aim would be true. His character is frank and open, and again, non egotistical, he is stalwart though spurned by her several times. He is quietly confident and reasonable, whereas she is quite imperious and unkind in the way she sends him away (in favour of John Malkovich!?) Caspar is the man she should have noticed sooner, the less obvious and better choice. Caspar is still gently trying to win her at the end of the film - still being considerate but making his intentions clear, and there is the promise of a fulfilled romance between these two at the open-ended final scene of the film.
The heart of the film seemed to discuss that with pain and bitterness comes awareness, and this is necessary for wisdom. Apparently the book this film was based on by Henry James was meant to illustrate how a woman could not manage her life should she gain financial independence.
It is a complicated plot with dark secrets and embittered characters, (Barbara Hershey's character in particular). John Malkovich is the most type-cast actor I can think of, playing his usual mean aristocrat. The story subtly intrigues, and may be an acquired taste.