A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her ... See full summary »
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Robert De Niro,
A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her leave him after a short, but passionate affair. Anna and Mike, who play the characters of Sarah and Charles, go, during the shooting of the film, through a relationship that runs parallel to that of their characters. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
The Cobb is the old harbor wall at Lyme Regis where we see "that scene" as Sarah / Anna stands on the harbor wall as the waves crash around her. It was deemed too dangerous for Meryl to get up onto the Cobb while the waves were crashing. So any distance shots actually have one of the art directors standing in for her. The close ups were done in the safety of the studio. See more »
Early in the film when Charles takes a horse-drawn carriage to visit Ernestine the horse changes between shots (confirmed by the number of "stocking" feet it has). See more »
[quoting Dr. Hartmann's treatise on melancholia]
"It was as if her torture had become her delight."
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This film is a joy to watch -- as not many films these days are. The settings are superbly created -- the green, grotto-like woodland where Irons and Streep meet in the Victorian world of the film, the murky streets of Lyme, Exeter, and London, and the interior of the lawyer's office, for example. The Victorian part of the film emerges from the dawning of the concept of abnormal psychology (just before Freud) and is really convincing. Streep shows us that her character cannot move on emotionally until she has worked out her own madness. That constitutes a remarkable and complex performance of insanity and self-awareness inhabiting a single psyche. She earns the gentle movement out of the tunnel and onto the calm lake. The turbulence of the unconscious -- that threatening sea of which Irons has warned her -- has been subdued. Seems to me the flaw lies in the 'modern story' (as some here have pointed out). It may be that the Streep character is trying to find a subtext for her fictional heroine, but it looks like the old ennui, so that, while her lack of concern for the relationship is understandable, his obsession with it is not. Though the garden party at the end almost gets it there. Were we shown her decision there? If so, I missed it. I like the concept of the 'two endings' and their contrast, but the ending in the 20th century was a so what? The one in the 19th century was complex and included much of the pain that the relationship had caused both characters. A little more attention to the contemporary love affair -- to suggest that it was more than just a romp on location -- would have helped that dimension of the film per se and also suggested what the Victorian lovers had earned within their Hardyesque world.
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