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Closer. It's been five years since I saw
Closer on Broadway which is probably just the right interval to allow a film adaptation of a play to seem brand-new and yet bring back enough of the play for comparison. The dialogue and power play (and this is as much about power as love) are as riveting as ever. The actors cast to play the roles on screen are first rate, with Natalie Portman (last seen on Broadway as Anne Frank) a standout as the urchin-stripper and Clive Owen as the aggressive dermatologist, especially outstanding. Naturally, the film, now directed by Mike Nichols instead of the playwright Patrick Marber (who did, however, write the screenplay), is not confined to a theatrical set to depict the various locales over a period of years. Since the constraints of live performance were so astutely handled by Marber, this is nice but not as major an advantage as one might think. The film follows the original play pretty closely so I refer you to that review for plot details:
Closer--on Broadway
January 17, 2005 update. Clive Owen and Natalie Portman took home Golden Globe's Best Supporting Actor awards.
(posted December 14, 2004).
Vera Drake. I caught up with Mike Leigh's terrific gift to Imelda Staunton
the same week that I saw Brenda Blethyn made her Broadway stage debut in
Night Mother. Though well known in her native Britain, it was
Secrets and Lies that put her on the map as an internationally known actress. Until I saw her unforgettable performance as the title character in Leigh's new film, I was familiar with Imelda Staunton mostly through some of Lizzie Loveridge's London theater reviews.
While
Vera Drake, is another feather in Leigh's cap as a director, this incredibly touching slice of 1950s London life is more than anything else a major triumph for Ms. Staunton. Her portrayal of a genuinely good woman makes all the adjectives with which you want to sing her praises seem inadequate. Staunton's Vera is an industrious, working class woman, a loving mother, wife and kindly neighbor. Her persistent good cheer and calm gives her an almost saintly quality. As she manages to find time in between her cleaning lady jobs to visit her ailing mother and other needy neighbors, so she also helps poor women terminate unwanted pregnancies.
Ms. Staunton's performance yields its pleasures bit by bit, as we follow her through day too busy with her job, do-good eactivities and home life to contemplate any possible fallout from the illegal abortions she performs efficiently, with unfailing good cheer -- and without any thought of recompense (though, unbeknownst to her, the friend who arranges these illegal abortions, has no such scruples).
Staunton gets strong support from the other actors (the cast includes several other actors whose faces will be familiar to theater goers) -- especially the individuals playing her endearing family.
When tragedy strikes via a girl who almost dies after being "helped" by Vera, Staunton's superb acting takes a turn towards brilliance. Even as she must face prison, we see that her real anguish comes from realizing the pain she's caused her family. It's to everyone's credit -- the director, the star, the supporting cast -- that the ending, which could easily deteriorate into a sin-suffer-repent soap opera, instead plays out with the authenticity and power of a genuine Greek tragedy. Definitely one of those must-sees that film buffs will in time add to their DVD collection for watching again and again as time goes by.
(posted November 26, 2004).