Let me just lay it out there: not only is Kate Winslet the best actress of her generation, she’s probably reached all time top ten for me. After some British TV work she burst in to movies while still a teenager with her haunting performance in Peter Jackson’s Heavenly Creatures and then established herself as a major young adult actress with her wonderful work as Lucy in Ang Lee’s Sense and Sensibility. Winslet then capped off this early period of art house auteurs with Michael Winterbottom’s adaption of another victorian novel Jude the Obscure (shortened to just Jude for the screen) and the best on-camera interpretation of the role of Ophelia in Kenneth Branagh’s underrated Hamlet. And then her career exploded with the cultural and box office goliath Titanic making her a giant international star. But she did an interesting thing; she didn’t chase the money, and (until recently) she mostly stuck to smaller character driven films, never again working with another A-list brand name director like James Cameron or even Lee. (With smaller exceptions being Nancy Meyers, Michel Gondry and Jane Campion, while directors like Philip Kaufman and Roman Polanski were well past their primes. She only had a small role as part of a large ensemble in Steven Soderbergh’s Contagion.)
With Hideous Kinky in ’98, (Winslet’s first post-Titanic role) she really laid down the gauntlet for the kind of career she would map out for herself: challenging, surprising, anti-star and often unsympathetic. Based on Esther Freud's autobiography about her childhood being raised with her sister by her free-spirited British mother in Morocco, Winslet plays the mom, Julia. Disillusioned by life in stuffy London and with a hippie attitude, in a search for some kind of spiritual enlightenment, she packs her eight and six year-old daughters up for a Middle East quest. The two little girls are played by Bella Riza and Carrie Mullen, and they deliver a pair of outstanding performances. Julia, though loving, is also young and selfish, with only fleeting concern for her children’s needs for stability. The girls actually want to go to school, but Mom keeps whisking them off on busses across the desert landscape to romance her Moroccan boyfriend, Bilal (the charismatic Said Taghmaoui), who also seems to be a lost soul, unwilling to live up to his community's expectations. It’s never fully clear if Julia is truly spiritual (her enthusiasm usually feels naive) or if it’s all a pose to rebel against her family and the girls’s father, a London poet. (The question of their marriage is also blurry.) The film provides an insightful and fascinating look at Moroccan city life; this, of course, is before the full-blown Islamic revolutions would make Westerners a little less comfortable being strangers in a strange land.Continue Reading
Based on Patricia Highsmith's book The Talented Mr. Ripley (the first of her five Ripley novels known as the "Ripliad," she is also the author of the book that became Strangers on a Train), which of course was also filmed later by Anthony Minghella in ’99, the French version Purple Noon (Plein Soleil) proves to be a much more entertaining ride. That’s not to say that the American version isn’t also very good. I like it a lot and I don’t know which version is closer to Highsmith’s book, but where Minghella tried to ring psychological complexity out of simplicity, often making it feel overstuffed, director René Clément (most famous for Forbidden Games from ’52) goes for a more straightforward suntanned noir. And as much as I admired Matt Damon as Ripley, Clément’s ace-in-the-hole is the young French superstar Alain Delon who doesn’t wear his acting on his sleeve like Damon did--instead he just naturally oozes charisma, making the character less a super-geek psycho and more a smooth criminal.
The film starts right off with two American buddies (strangely, played by the French stars) living the cafe life in Italy. It’s casually mentioned that the father of the rich one, Philippe Greenleaf (Maurice Ronet), has hired the other, Tom Ripley (Delon), to convince his party-boy son to return home to San Francisco (?!) and finally face his adult responsibilities. Of course, Minghella’s Ripley starts in the States, with the setup played out on camera; score this to Purple Noon for cutting to the chase. None of Philippe’s other rich friends care much for Tom, including his girlfriend Marge (Marie Laforêt) and his pal, Freddie Miles (Billy Kearns, an actor actually born in America, though most of his career was in French cinema. He’s fine but the American version’s Philip Seymour Hoffman steals the movie in the role). But the ever cruel Philippe enjoys having Tom around where he can pick on him and taunt his lack of sophistication. (Ronet is much more mean-spirited and less charming than Jude Law’s take on Dickie). Ripley envies Philippe’s lifestyle, his money, his clothes, his freedom and his relationship with Marge. The American version gives Ripley an obvious homosexual obsession with his idol. Here it’s only lightly hinted at; Ripley’s main obsession is more financial and materialistic. The French version does not linger on their relationship long enough to get into those matters, and by the end of the first act, Ripley has purposely killed Philippe in order to steal his money and even woo Marge. The murder in the American version is a fit of passion; here it’s premeditated. The suspense comes in how he covers it up. It’s on a boat and it’s not easy. And the rest of the film is a cat and mouse game between Ripley and the police investigating the murder (and later Ripley is forced to kill Freddie), as Ripley pretends to be Philippe to keep the investigators and Marge off his trail.Continue Reading