With a sweeping, picturesque setting and emotive performances, this dramatic epic will appeal to moviegoers who enjoy beautiful imagery and weepy romance. On the other hand, those who get easily annoyed at melodrama will find all of this a bit thin and pushy. Still, no one will deny that it looks gorgeous, and that the cast performs with raw emotional intensity.
Set just after the Great War, the film follows shellshocked veteran Tom (Michael Fassbender), who has taken over the job as the lighthouse keeper and sole resident of the tiny island of Janus, where the Pacific and Atlantic meet. In the nearest town, 100 miles across the sea, he meets the beautiful Isabel (Alicia Vikander), marries her and moves her to the island with him. But their blissful happiness is shaken when she suffers two harrowing miscarriages. So it seems like fate is intervening when a boat washes ashore with a crying baby, which Tom and Isabel secretly adopt and pass off as their own daughter. Then a few years later Tom discovers the baby's real mother Hannah (Rachel Weisz) in town, and they're forced to grapple with the moral issues.
Tom, Isabel and Hannah all face increasingly difficult decisions as this story unfolds, and the events push every button carefully, removing much of the complexity from the situation. It's painfully clear what must happen, and many scenes are darkly disturbing as a result, especially as characters turn on each other, making some very selfish choices and showing unexpected compassion and understanding. Nothing that happens here is easy, and the actors invest the characters with plenty of passion, plus the complexity that's lacking in the script. Fassbender is stoic, Vikander is wrenching and Weisz trumps them both with her sympathetic yearning. There's also a terrific scene-stealing turn from the young Florence Clery as the daughter in question.
Continue reading: The Light Between Oceans Review
Geoffrey Rush, Jane Menelaus, Academy Of Motion Pictures And Sciences and Academy Awards - Geoffrey Rush and Jane Menelaus Los Angeles, California - 83rd Annual Academy Awards (Oscars) held at the Kodak Theatre - Arrivals Sunday 27th February 2011
Director Philip Kaufman establishes the nebulously erotic atmosphere of "Quills," a fictional film about the Marquis de Sade, with an opening scene in which a pretty aristocrat, shown on screen in some kind of ecstasy, is described by Sade (in a voice-over) as a woman with a sexual appetite for torture.
His voice slithers as he relates how she one day "found herself in the arms of a man whose skill in pain exceeded even her own" as the camera focuses on two giant, dirty hands coarsely roaming her neck and shoulders while she shivers in fear. The camera pulls back to reveal that the woman is standing before the gallows, about to become the eighth or ninth severed head to roll into a basket below as a crowd of rowdy peasants cheers on. (This is 18th Century France, after all.)
The Marquis' narration drips (like blood from the blade of the gallows) with a kind of odious sensuality and pricks at the viewer's darker side with a twisted sense of humor that carries throughout this engrossing, seductive, and at times unsavory film.
Continue reading: Quills Review
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