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
What can I say? I’m a sucker for court room, investigative drama; no matter how pedestrian. The ace-up-the-sleeve for True Believer is the dynamic performance by James Woods. Working at the peak of his acting powers, Woods plays a once celebrated, radical lawyer, now burned out and living on defending drug dealers. Woods, a wiry and intense actor, had spent years specializing in unhinged types, before he really came to the public's attention in the late '70s with his work (opposite Meryl Streep) in the TV miniseries Holocaust, and his searing performance as a petty criminal in The Onion Field. He spent most of the '80s in potentially important films that didn’t break him out (Once Upon a Time in America, Against All Odds), fascinating misses (Videodrome, The Boost), with some little seen gems mixed in (Fast-Walking, Split Image). In ’86 he finally broke through, winning every major TV award for the small-screen movie Promise and getting his first Oscar nomination for his powerhouse work in Oliver Stone’s Salvador. True Believer fell in the post-award buzz period, when he was scoring those big-star leading-man roles. Here he fully delivers on the promise.
Though wrapped up in a mystery, True Believer actually works better as one of those what-ever-happened-to-our-heroes-from-the-'60s? movies (The Big Chill, Running on Empty, etc.). The true believer in question here is Edward Dodd (Woods), a sorta William Kunstler like lawyer who once fought for civil liberties, civil rights and other groovy ideals, but now, even though he still has his long hair and openly smokes pot, prefers to defend whoever has the bread to pay him (usually real criminals). An idolizing, young law school graduate, Roger Baron (Robert Downey Jr, a couple years before his performance in Chaplin made him a major actor) volunteers to be his clerk, hoping to experience some of that '60s magic. He pushes Dodd to become better, until the older lawyer slowly comes to realize he has been cheating himself and his own ideals. Oh, and also there's some kind of loser case that Baron convinces him to take; something about a Korean-American kid wrongly convicted of murder that leads to the uncovering of all kinds of legal system corruption, as well as some suspense and some lawyerly heroics.Continue Reading