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Yesterday (why?) The Comfort of Strangers seen again. A remarkable film
, but not a good one. A couple on holiday in Venice to perpetuate their
relationship met a brutal man and his enigmatic wife . Rupert Everett
is the husband of the couple who made more like his looks rather than
his wife and certainly less put on her children . Natasha Richardson -
his wife - doing a half-hearted attempt to deepen the relationship.
There is no connection and no sex. Until they meet the character of
Christopher Walken. Repel them are intrusive behavior and attracts
them. Walken is the key to new passion ?
The powerful memory I had of the film was in a scene where Walken gives Everett unprovoked a hard punch in the stomach. Everett responding (also) this lethargic . Walken gives him a wink after the stump. This scene is still the best of the film. Walken acts pleasant unfathomable. His expression is attractive false. Walken carries the film to pose. His character - despite bizarre stories about his past - is superficial . The rest of the cast ( Helen Mirren is Walkens woman ) seems to do exactly what the script is . No subtle additions in the game.
Director Paul Schrader will have stood for. Schrader at the top of his fame during production was/is known for its powerplay. It has earned him eternal fame as a writer of the scrips Taxi Driver and Raging Bull. In The Comfort of Strangers, he 's tight rein. So tight that even particularly Everett Richardson and insecure on the set seem to be . "So, and not otherwise ," will have Schrader called . It provides for stiff game in a story of the subtleties must have correct.
The result is that the crises of the couple does not last and that you wait until Walken again comes into picture. Stock photography Dante Spinotti is beautiful and the pleasant retro look back. The score of Angelo Badalamenti 's trying the audience's attention to keep. It does not help. The Comfort of Strangers in the year 2013 is just a nostalgic experience.
Jac. de Wit, email@example.com
What I loved about this movie is that the viewer never knows all the way until the end how it is going to turn out! If you are squeamish, avoid this movie. Rupert Everett and Natasha Richardson holiday in Venice to save their relationship. By accident, they run into a rather quirky pair played by Christopher Walken and Helen Mirren. As the movie progresses, they find out some strange things about these two. Venice provides a beautiful and alluring backdrop to allow this fascinating drama to unfold. Lesson: Never be too polite to strangers!
I could not help but thinking of the old children's story of Hansel and Gretel. This time, Hansel and Gretel are grown up and get lost in Venice - the witch - being played chillingly by Christopher Walken as "Robert" - a rather strange man who lures the couple to dine with him and then later to stay at his house. You will notice that Robert always has one hand in his pocket. Very mysterious and wicked.
*** This review may contain spoilers ***
'The Comfort of Strangers' starts on a promising note. As the opening
credits role, we are introduced to the names of a talented cast. Set in
Venice, director Schrader maintains the mystery element. Venice looks
beautiful but at the same time very secretive and haunting. The
formidable cinematography and background score further stresses on
this. Rupert Everett and Natasha Richardson act well but it is
Christopher Walken and Helen Mirren who steal the show. The sexual
tension is quite cleverly displayed as sex is a key element. However,
it is the ending that is a big letdown.
Spoiler: It is shown that Mirren and Walken's characters were sexually obsessed with Everett's Colin. So, why did they decide to kill him? I thought both of them wanted to have some kind of ménage-a-trois with him. That would have made more sense. Also, in the beginning, Mary and Colin, sleep in separate beds. Since they were lovers, why was that the case? Perhaps they were on the trip to find each other. It's suggested that Walken's character is of an Arabian background (the interior design of his house, his speaking Arabic to the people in the bar etc).
Nonetheless, it is the ending that ruins the film. Some people compared it to Lynch's work but 'The Comfort of Strangers' is nowhere near any of Lynch's great works.
This was a beautifully filmed, perfectly acted waste of time. While the
tension and danger are real, the motives and plot are empty. When it
I said to myself, "Huh?"
If it wasn't busy taking superflous detours, it was inexplicably shocking. It's almost as if there was a second half that got cut out. I feel like I was owed an explanation, although one could extrapolate some kind of man vs. himself kind of conflict from all of this. Hey, maybe I'm just a dumb American who has gotten used to movies that hand you a plot on a platter. I guess that's what some people loved about this movie, and what left me feeling so unsatisfied ... I will be rolling the memories around for a while trying to put together something coherent with purpose, which the movie didn't supply.
This is one of those movies like "Mommie Dearest" that, after the first viewing, you're not sure that you could have possibly seen what you think you saw. It's so over the top that you need to shower afterward. And then, for some twisted reason, you watch it again and you start to like it. Everything about it is preposterous (though, Venice looks cool). Natasha Richardson and Rupert Everett play, perhaps, the dullest couple to ever grace the screen. It is impossible to care about, or even understand, the emotional quandary they're going through. Helen Mirren is completely insane, but nothing can prepare you for the vintage, bravura Walken performance. His monologue about his father (that he delivers more than once in a dubious Italian accent) is a zenith in the Hammy Hall of Fame. Seek out someone else that has seen it and recite that monologue to each other in a bad Italian dialect and you will seldom in your life laugh harder. Rent (or buy, as I have) quickly and brace yourself.
Still trying to figure out the point of this movie. The cast, setting and music were all the best that can be had, but the dialogue was as stilted as Mamet on a bad day, there was zero chemistry between Everett and Richardson, and Walken and Mirren were stuck in silly, unfathomable roles. I don't mind talky movies with slow dénouement but this didn't even have the merit of shedding light on human nature's dark spots. It amounted to a lurid headline with no information in the report. Why do Walken's and Mirren's characters act the way they do? I didn't even care enough about Everett's and Richardson's characters' relationship to wonder why it went from lukewarm to supercharged overnight and then back to lukewarm. Their relationship reminded me of Sheltering Sky - puzzling and sad, but not worthy of much interest. So I'm back to my initial question: what was the point?
with a brief interlude of unaccountable horror. And that's all. A
pastiche of false subtleties. Forget about it. Fleshing out this review
is much like what fleshing out the screenplay must have been -- it
implies an underlying motivating principle in its characters, but there
is no such principle in the ideas. Bo one can tell, from the beginning
or the end, that there was any coherent idea in this film.
I'm surprised, as well, that the pretense of the film went unnoticed. Since I must go on with my comment, and as I had to endure the slowly passing puzzlement of the film, I say simply that it didn't justify itself, which is, after all, what a good film aims for. This one is not a contender.
The plot of this film without disclosing any details can be summed
up with your Mother's admonition to you as a pre-teen: "Never Talk
If you ever wondered, "Why Not?", see this movie for a possible answer.
It's obvious that talent and effort went into the making of "The Comfort Of Strangers." It lovely photographing of Venice, the ominous atmosphere is well done, the acting is good, and it just seems so well, pretty. The million-dollar question is, why? Is it supposed to be entertainment? It doesn't feel that way. And a good thing, too, because despite the tension, despite the suspense the movie is too slow, too boring. I LIKE slow, psychological movies. But I couldn't help looking hopefully at my watch, over and over again. If you're after entertainment, watch something entertaining, watch something gratifying. No, `The Comfort of Strangers' feels like an art house movie. And despite my respect for artistic privilege, for self-expression why make this movie? I disagree with the other reviews this movie has nothing behind it, nothing. Is it aiming at realism? I hope not. Sure, much of the plot is conceivable. And a movie doesn't have to overtly portray its characters' motivations in order for the audience to believe that their behavior is legitimate but that believability is a must. Much of this movie just appears ridiculous and gratuitous. Unconvincing. Things happen just because. A mix of realism and absurdity, perhaps? Let's assume so. But to what ends, what is being expressed, why? A comment on the English perhaps, or on Italians? On men, maybe? On life? On love? Don't expect anything sophisticated. Someone described this movie as confusing. It only becomes confusing if you assume, a priori, that because so much effort was put into it, it DOES has some sort of meaning, and try to understand what it is. But all it is is a mish-mash of themes whose sum, regretfully, is infinitesimal. What this movie does do, and do well, is shock you. But in a bad way. You know something terrible is going to happen, but you don't expect it to be so ridiculously unwarrantable. You assume that it will add some sort of coherence, significance, something at all, to everything that has preceded it. But exactly the opposite happens. Credibility is destroyed, and to make things worse, the movie goes on, dragging itself on and on, as if a renewed declaration of its insensibility is going to make things better, make you accept it as some sort of whole. It doesn't. You don't need to hear the policeman ask why you are already asking a different question. Why has this movie been made?
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