From the works of William Shakespeare to more modern works, stage plays have always provided a rich source of material for filmmakers. August Strindberg's 1888 play Miss Julie has apparently been a particularity rich source, having been adapted for the screen more than a dozen times in little more than a century. While not being overly familiar with the play, and perhaps drawn more by the actors than the source material, I recently sat down to take in the latest film version of the play and discovered an interesting, if often contradictory piece of work.
On the surface, the film is well acted. There's only really three performers in the whole film: Jessica Chastain as the title character, Colin Farrell as the valet John and Samantha Morton as the maid Katherine who is also John's finance. Chastainis perfect casting as Miss Julie, the daughter of a wealthy baron sitting at home alone on a midsummer's night in 1890 who finds her fragile little world thrown into chaos. If there's any reason to watch the film it's Chastain who, with her red hair and green eyes standing out against her blue dress, goes on a remarkable emotional journey between extremes of happiness and sadness, authority and submissiveness, maturity and childishness, quiet contemplation and fits of anger before realizing that she is ultimately trapped by the world and situation she finds herself in. In a way, Chastain's performance sums up the entire film: beautiful, fragile and a mess of contradictions.
Then there's Farrell and Morton. Of the trio, Farrell is the weakest in that his acting often seems forced rather than natural, making him at odds with his co-stars. Mot to mention an Irish brogue so thick you'll likely have to turn on subtitles to understand it which rather undermines the refined air that the character tries to put on and is meant to have (though that might be a deliberate move, it's hard to tell). That said, there's an undeniable chemistry between him and Chastain that makes their lengthy and at times unlikely encounters interesting to watch. Morton, the member of the trio with the least amount of screen time, comes across as an often silent and appalled witness to the events unfolding around her. It's her quiet, understated performance that makes for a wonderful contrast with the sometimes explosive performance Chastain gives. Together, they make for an interesting group of performers who bring the film to life.
What makes their performances interesting is the script, adapted from the original play. Ultimately all three of these characters go on the same journey and discover the same thing: that despite whatever actions they may take they're ultimately trapped in the world and roles they find themselves in. What they do with that fact is what defines them. There's more to it than that of course as sparks fly in not only a battle of class but also of the sexes as each tries to gain the upper-hand over the other with consequences that ultimately prove both disastrous and that have an almost tragic inevitability to them. Even as character's bounce back and forth between emotional extremes, it somehow seems believable under the circumstances as roles are reversed and hearts both laid bare and broken in the space of a single night. The results are incredible to watch...at times.
Which brings us to the production. The direction of Liv Ullmann, and the editing of Michal Leszczylowski, has the film unfold not with the white-hot intensity suggested by the dialogue or indeed the performances often suggest. Instead, the film unfolds slowly, never really building up momentum as it takes the viewer on its two hour journey. It's something that turns what could have been a fascinating, well paced drama into one that is as often infuriatingly static despite the emotions and tension building up between the characters. Making up for that is the film's visuals in the form of some beautiful cinematography from Mikhail Krichman as well as the sets and costumes of Mikhail Krichman and Consolata Boyle respectively. It's the combination of their work, and some gorgeous shots of the Irish countryside that makes the film visually interesting to watch when the direction and editing undermine performances. Yet they can't save the film from being at times the one thing it shouldn't be: dull.
What are we to make of the film then? There's beautiful visuals and performances, including some of Chastain's best work to date in a career full of memorable performances. Yet the film is also treated with a fragility that at times undermines the drama unfolding within it as well as those aforementioned elements. It's an emotional drama that is played in a fashion that is contradictory to its nature and renders it at times utterly dull. In the end, the film is perhaps too much like its title character: beautiful, fragile and a mess of contradictions.
On the surface, the film is well acted. There's only really three performers in the whole film: Jessica Chastain as the title character, Colin Farrell as the valet John and Samantha Morton as the maid Katherine who is also John's finance. Chastainis perfect casting as Miss Julie, the daughter of a wealthy baron sitting at home alone on a midsummer's night in 1890 who finds her fragile little world thrown into chaos. If there's any reason to watch the film it's Chastain who, with her red hair and green eyes standing out against her blue dress, goes on a remarkable emotional journey between extremes of happiness and sadness, authority and submissiveness, maturity and childishness, quiet contemplation and fits of anger before realizing that she is ultimately trapped by the world and situation she finds herself in. In a way, Chastain's performance sums up the entire film: beautiful, fragile and a mess of contradictions.
Then there's Farrell and Morton. Of the trio, Farrell is the weakest in that his acting often seems forced rather than natural, making him at odds with his co-stars. Mot to mention an Irish brogue so thick you'll likely have to turn on subtitles to understand it which rather undermines the refined air that the character tries to put on and is meant to have (though that might be a deliberate move, it's hard to tell). That said, there's an undeniable chemistry between him and Chastain that makes their lengthy and at times unlikely encounters interesting to watch. Morton, the member of the trio with the least amount of screen time, comes across as an often silent and appalled witness to the events unfolding around her. It's her quiet, understated performance that makes for a wonderful contrast with the sometimes explosive performance Chastain gives. Together, they make for an interesting group of performers who bring the film to life.
What makes their performances interesting is the script, adapted from the original play. Ultimately all three of these characters go on the same journey and discover the same thing: that despite whatever actions they may take they're ultimately trapped in the world and roles they find themselves in. What they do with that fact is what defines them. There's more to it than that of course as sparks fly in not only a battle of class but also of the sexes as each tries to gain the upper-hand over the other with consequences that ultimately prove both disastrous and that have an almost tragic inevitability to them. Even as character's bounce back and forth between emotional extremes, it somehow seems believable under the circumstances as roles are reversed and hearts both laid bare and broken in the space of a single night. The results are incredible to watch...at times.
Which brings us to the production. The direction of Liv Ullmann, and the editing of Michal Leszczylowski, has the film unfold not with the white-hot intensity suggested by the dialogue or indeed the performances often suggest. Instead, the film unfolds slowly, never really building up momentum as it takes the viewer on its two hour journey. It's something that turns what could have been a fascinating, well paced drama into one that is as often infuriatingly static despite the emotions and tension building up between the characters. Making up for that is the film's visuals in the form of some beautiful cinematography from Mikhail Krichman as well as the sets and costumes of Mikhail Krichman and Consolata Boyle respectively. It's the combination of their work, and some gorgeous shots of the Irish countryside that makes the film visually interesting to watch when the direction and editing undermine performances. Yet they can't save the film from being at times the one thing it shouldn't be: dull.
What are we to make of the film then? There's beautiful visuals and performances, including some of Chastain's best work to date in a career full of memorable performances. Yet the film is also treated with a fragility that at times undermines the drama unfolding within it as well as those aforementioned elements. It's an emotional drama that is played in a fashion that is contradictory to its nature and renders it at times utterly dull. In the end, the film is perhaps too much like its title character: beautiful, fragile and a mess of contradictions.