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|Index||92 reviews in total|
*** This review may contain spoilers ***
The theme is "Breaking and Entering" but this movie is about
relationships. The crime is just there to get the characters to meet.
Interesting movie, not one of my favorites but good enough for one
Jude Law is Will Francis, co-partner in an architect firm situated in the Kings-Cross area of London, one known for petty crime. Their office has been burglarized several times, and it must be by someone who knows the alarm code. They suspect the cleaning crew.
Will has a 10-year partner, Robin Wright Penn as Swede Liv, who also has a 13 year old autistic daughter. Even though Will and Liv seem to get along well, he doesn't seem to be "inside the circle" which contains Liv and her daughter, even though the daughter refers to him as 'daddy.'
Will decides to stake out his building at night and eventually discovers that a young boy, 15, is climbing onto the roof and through a skylight and with binoculars reads the alarm code punched in as the cleaning crew leaves. Then, he breaks into the building from overhead and punches in the code before the alarm activates. After that he opens the doors so the real thieves can make off with the valuable computer equipment.
All this brings together the boy, Juliette Binoche as his mother Amira, and Will, not ready to be unfaithful to Liv but desperately looking for love.
This movie, much like the subject of this comment, questions what it is
to love, to suffer, to exist...
The depth contained in this work is incredible as it draws out the angst in the everyday struggle of life; the light and the dark, the happiness and the sorrow. It shows the true vulnerability of a man, but also of mankind. If the words would have been properly stated in the first moonwalk, "this is one small step for a man, one giant leap for mankind" I would liken the phrase to this movie for truly, one small step for Will Francis (Jude Law) into sin and self deception showed how Man has leaped into sin and self deception.
Parallels are shown in the architecture and design, as well as the talk about the architecture and design, of buildings and cities. Light becomes an analogy as does the cold... Metaphors.. metaphors are spoken and referred to in order to shed light on the truth. You get glimpses of the past, sins of the past.. but you also get a view of the future, a brighter-cleaner future. At the end of the movie you will feel empty. You'll get a sense of questioning but then it dissipates because you realize you no longer require answers. You just have to accept and absorb.
The title becomes clear; everything is about breaking and entering. Whether it is for crime and punishment - love and hate - sins and forgiveness it is the only thing that is not in contrast, thus it brings everything together.
A remarkable dramatic work that accurately shows the struggles of living for all walks of life. Of course this movie was not perfect.. but like I said from the start and like this movie demonstrates - what is?
Definitely worth seeing, I just hope you can see it all and can relate to this post when you're done!
Rarely have I seen a film cover as many layers so flawlessly as this
film does. The title itself as a bounty of different meanings to it.
Taken literally, it refers to the several break-ins that occur
throughout the beginning of the film that spiral everything that is to
follow. However if you look deeper, you can find several different
metaphorical meanings to the title. It could be referring to the lives
that we see. They are already broken, and we enter these lives to see
how they play out and progress. It could also be referring to the
relationship between Will and Amira. He breaks in to her life and as a
result, she enters his and we see how his life changes as a result.
I also loved how Minghella studied the parallels between the two mother-child relationships in the film. Both deal with troubled children and mothers who are trying their best to create the best lives for their child. On one spectrum there is Amira and Miro. Due to an absent father and poor finances, Amira is forced to work as hard as she can to provide for Miro. However, he gets involved with criminals and becomes more and more entwined into these break-ins, as he is the only one who can actually be punished by law since he's the only one who physically breaks in. Amira has to work as much as she can and, as a result, she neglects Miro which leads to his actions. On the other side of the spectrum there is Liv and Bea. Bea suffers from a very extreme case of obsessive compulsive disorder and this takes a heavy toll on the lives of her and her parents. Unlike Amira though, Liv has a husband who works very hard and can provide constant economical support to the family. This allows her to quit her job and spend all of her time with Bea, doing her best to make sure she's alright. It's very interesting to see how these two similar relationships progress throughout the film with opposite approaches to trying to fix the problem.
Another interesting story that Minghella subtly unfolds is how immigrants are treated and how they live in a more established structure. In poverty-stricken areas people like Amira can be very well and have great jobs, such as a pianist. However when they have to pick up and move, it's extremely difficult to find any kind of job so she has to resort to being a tailor working out of her own home. This element is also displayed with Erika, who has to resort to being a cleaning lady and is automatically accused when the break-ins first start.
Minghella does a great job of layering so many magnificent and deep stories under one overlying story of how a break-in causes a man to re-evaluate his life. As always in his pictures, the score and cinematography are some of the best I've ever seen. Simply marvelous work. The performances are all brilliant. Jude Law is phenomenal in a very subtle display of a troubled man, dealing with numerous problems, just trying to be happy with his life. Binoche is deep and absorbed in her role as a mother who will do anything to protect her son. Penn perfectly portrays a mother who is trying to keep her relationship stable, while dealing with a very troubled daughter. Even the supporting actors nail their roles. Martin Freeman, as always, is absolutely hilarious and provides some much needed comedic support. Ray Winstone and Vera Farmiga are severely underused, but they nail their parts perfectly.
*** This review may contain spoilers ***
Breaking and Entering meanders in the beginning and becomes more about infidelity than anything else. I thought the film really picked up once Juliette Binoche entered in as the main camera presence - about from the 2nd half on. Her character and acting were 1st rate as a scared, lonely, mother. Jude Law also turns in a performance perhaps better than some of his other movies. Their romance is strange but more believable and far more captivating than his steady relationship with Robin Wright Penn's character. As it was then, I didn't really care much for the family exposition with Law as a live-in boyfriend. It didn't give anything back. And Penn's daughter as having developmental/behavioral problems is distractingly annoying. So, the 2nd half of the movie really made it a worthy watch, especially with Binoche.
*** This review may contain spoilers ***
This very finely written & directed film by Anthony Minghella had a
very limited run.I just cannot figure this out. AWFUL comedies like "40
Yr Old Virgin" play in over 3000 theatres & this real good movie & many
other good films like CHILDREN OF MEN have next to no release at all.
As per the old song from THE KING & I "Tis a Puzzlement"
The title has a few meanings in itself,(SPOILER ALERT) It is not the robbery at the beginning of the film, It is the breaking of the emotions of the characters & entering there psyche, that this film is about.
Jude Law is an architect creating a building at KINGS CROSS a London neighborhood. The area is like a miniature United Nations, We are dealing here as well with the breaking & entering of various diverse peoples thoughts etc,
Robin Wright Penn lives with Jude & they have a delightful daughter about 10 years old with problems as well.
Newcomer Rafi Gavron (one of the robbers who broke into Jude Laws building) is a refugee lad from Bosnia living with his mother played by the magnificent Juliet Binoche. as you can guess Jude & Juliet meet, & have an affair.
Now enter in the picture Ray Winstone as a policeman, & future STAR Vera Farigna as a prostitute., We break & enter into all these persons psyche,due to the clever & skillful screen play by Mr, Minghella.
ASs you can see at times this becomes a bit confusing BUT the acting by all is superb, I wish the Oscar people gave out an award for outstanding cast like the Emmy's & the Golden Globes'do. This film would have been nominated. The entire cast is just about pitch perfect.Thanks to the excellent direction Of Mr. Minghella.
A few more notes then I will finish. this is Rafi Gavrons first feature he is only about 20 years old (I did not look his age up), he does portray a slightly younger lad, & I do predict a bright future for him.
Now on to the main star JUDE LAW, When OH when is he going to get his Oscar.. He is like the old time actors from the 30's & 40's . He can do dramatic loves stories, comedies,He even can do villains. & gives excellent performances in all. He has a smile & charm that is dazzling,. in short HE IS A STAR.
Rent this film, I am sure you will like it.
Ratings ***1/2 (out of 4) 92 points (out of 100) IMDb 9 (out of 10)
Politely provocative slice of contemporary London falls short of
aspirations but remains compelling enough to recommend as thoughtful
entertainment. A sleek production helps punctuate these dramatic,
intertwining narratives all revolving around the recent break-ins
occurring at a brand new warehouse. Around this circumstance, competent
writer/director Anthony Minghella weaves a little web of intrigue to
help highlight the many insinuations this title bears. Exuding a
sophistication the material cannot quite live up to, Breaking and
Entering still remains a mature enough study into the psychology of
adults to be met with class in the States.
Though it is a British film, Minghella knows how to mix his country's knack for depth with America's taste for more simplified, dumbed-down material to come up with a greatest common denominator of mainstream drama. With a sharp soundtrack, filming grimy nightlife around King's Cross through the seductive lens of Benoît Delhomme helps counter many of the scripts blemishes, which do come up more then one would hope. It is a script with more vague intentions then grave actualizations, only becoming thematically viable when a redemptive core gathers near the end.
Helping this literate soap opera along, an adept trio of star players breathe life into the film's many gray areas. Jude Law, Robin Wright Penn, and Juliette Binoche all sink their imaginary teeth into the emotional strain that surrounds an escalating connectivity. Law is one of Hollywood's most sensitive romantic lead actors, but his skills of perception still lack in the face of female counterparts, particularly Binoche in an assured take. Penn, also a great actress, plays more second or third fiddle in the narrative hierarchy, and despite relatively same amounts of screen time, feels under-utilized. For all it's structural and thematic annoyances, Breaking and Entering still proves that the popcorn is a helluva lot crunchier overseas.
It's been 10 years since director Anthony Minghella worked with
Juliette Binoche in The English Patient and 2 previous film (The
Talented Mr Rpley and Cold Mountain) with Jude Law before the trio meet
up again in Breaking and Entering.
Set in King's Cross, London, the drama surrounds Will (Law), an architect, Liv (Robin Wright Penn), Will's girlfriend and Amira (Binoche), a Bosnian Muslim immigrant who survived from the instability of Sarajevo, the hometown where she and her son Miro came from.
Miro and his friend broke into Will's workplace, and had everything stolen, including his personal notebook. Miro breaks into Will's workplace again and had everything stolen, but this time round, he left a DVD-ROM containing his personal data from his notebook.
While Will is facing an instability relationship with Liv and her autistic daughter Bea, he tracks down Miro, and discovered that Amira was the mother of Miro, and also the woman whom Will met earlier on. Using Amira's tailoring service as an excuse to investigate the break-in, soon he found love and sex on Amira, which eventually leaving everyone in a unfavorable, unfortunate and tragic situation.
Jude Law is once again reprising his similar role in Mike Nicholas's Closer, which was unfortunately a disappointment to the fan of Law who wish to see something new and different from him. Just like his previous role in Mr Ripley and Closer, Law is maintaining his image as a Casanova, which seems to have failed to appeal to his fans and reviewers.
Binoche, on the other hand, grabs the attention of the audience. While we have previously seen Audrey Tautou playing a Turkish chambermaid in Stephen Frear's Dirty Pretty Things, we now see another critically acclaimed French actress playing the role of Bosnian Muslim immigrant. She was a familiar face in French productions, with occasional appearance in Hollywood productions. Thus, it was fresh and new to see her playing a Bosnian immigrant, after she plays a French chocolate maker in Lasse Hallstrom's Chocolat, a US/UK production.
Minghella explores the another side of King's Cross in Breaking and Entering, where it brings the audience to see the vice and criminal side of King's Cross. While King's Cross was depicted as a place for vice, crimes and lowly immigrant living in the slums, the title also means another thing: Breaking and Entering into the lives of the opposite.
In the story, it began with Miro breaking into Will's workplace and had the workplace wiped out. In the end, he break into Amira's life and entered her personal life, which leads to emotional and monetary blackmail. Miro breaks into Will's life and Amira enters his life, which gave her a route for communication and exploration of her inner world.
Bea's autistic ism breaks the relationship between Will and Liv, where it put them on a test, with a consequence no one could imagine. The test tells us directly we are seeing some of the very real and familiar tensions and emotional breakdown in our daily life. While things could have been better, there are other issues that makes it a challenge to bring them back to pieces, just like how Liv trying to patch up a plate broken by Bea while having a quarrel with Will.
The film wraps up beautifully in the credits with Sigur Ros's Se Lest, which was a small treat for the audience after the story comes to an end. It soothes the ears, and the heart after the tension.
Minghella did not fail his fans in Breaking and Entering, which makes me expecting his upcoming production soon.
*** This review may contain spoilers ***
Breaking and entering has two stories both of which have considerable
potentials for full development (not to mention a few interesting side
characters that are also rather tempting). With something starting
rather haphazardly, it attempts to link the two main stories in such a
way that they become interactive, fueling a third. It may be a little
too harsh to call what the movie ends up with "a mess", but by trying
to do too much, this movie simply gets nowhere. Coming out of the
cinema, rather than wanting to reflect on what you have just witnessed,
you would more likely miss brilliantly simple and simply brilliant
movies such as "A straight story".
Story number one is a problematic family. yuppie architect Will (Jude Law) and beautiful common-law (I suppose) Swedish wife Liv (Robin Wright Penn) could be in their blue heaven with 10-year old Bea (Poppy Rogers) making three. But they're not. Bea is only Will's step-daughter (not much background but not really important) which is not a big problem because Will is a decent and loving step-father who tries hard to make the family work. The problem is that Bea has a form of mental disorder that manifests itself in things like insomnia, hyper-tension and all sorts of phobia about what she eats.
The second story stems from the fact that Will and his partner's office is in the undesirable area of King's Cross, the target of the two architects' project of revitalization. Two break-ins takes us to the life of 15-year-old delinquent Miro and his mother Amira (Juliette Binoche), Bosnian Muslim immigrants seeking a better life but finding a struggle against prejudice and poverty.
And here's something that is not merely haphazard, but becomes far-fetched. In tracking down the thief, playing his own private detective, Will ends up having an affair with Amira. Her motivation, however, is more utilitarian than emotional, as it's a mother trying everything to protect her son. That part at least is not too far-fetched if you think of a character played by first class actress Tilda Swinton in a movie called "The deep end" (2001). And Boniche looks a lot better as a mother than a lover (think of her segment in "Paris, je t'aime").
The biggest problem with this movie is the emphasis it places (or misplaces, rather) on the affair, which is entirely unconvincing and devoid of chemistry. Law recites the lines that he doesn't seem to believe in. The story of the vicissitude of mother and son comes across a lot better, with some touching moments. What is most interesting, however, is the relationship between Will and Liv. Law and Wright (sorry Sean!) have some good moments, dancing tantalizingly between an unsalvageable gulf and a normal (sometimes even health) fight between couples. I particularly like the scene when after a fight, they reconcile through talking about thing Swedish, ABBA, The Beatles etc.
At the end of the day, this movie, as I said, is trying to do too much. It seems to want to rise above melodrama, to social, political, psychological drama and more, but ends up biting off more than it can chew, even for the director of "The English patient", "The talented Mr. Ripley" and "Cold mountain".
Breaking and Entering is The Academy Award winning director of "The
English Patient," Anthony Minghella's latest film. This is not an epic
war romance, the film is set in modern London. If the movie was half as
long, Mr. Minghella would be picking out a new tux for the Oscars. But,
the two hour long film is too confused and overstuffed with ideas and
character development to be bearable. See if the following synopsis
gives you a headache: Will, (Jude Law) is an architect who has just
opened up a slick new office that looks like an Apple store.
Unfortunately, it is in a "developing" part of London famous for its
hookers. His office gets robbed a few times and he decides to find the
culprit himself by staking out his own office with a techno loving
prostitute, (Vera Farmiga). The "free-running" thief turns out to be a
fifteen year old boy, Miro (Rafi Gavron) who works for a gang of
Serbian thugs related to his late father. Will tracks down Miro but
ends up falling in love with Miro's mother, Amira (Juliette Binoche) a
soundless-piano playing seamstress.
Need some Excedrin? That's only about half of the movie and I haven't even mentioned Will's depressed light-box loving, long time girlfriend Liv (Robin Wright Penn) and her gymnastics obsessed behaviorally challenged daughter.
I was lucky enough to attend a screening with a Q&A with Minghella after the film. He's obviously enjoying the clout of having an Oscar. It gave him the opportunity to write and direct this film inspired by some of his own experiences. The director even answered some questions from the audience. One of the best was, "how much did you get from Apple?" The film has a lot of Macs in it and Macs kept getting stolen from the office. At one point a character actually says, "these Macs are great aren't they?" It seemed like a clear case of product placement. Minghella said Apple gave him no money. He explained that it was an inside joke. He's Apple obsessed and his office in London kept getting its Macs stolen.
If you can sit through it, the acting is good. Law's performance is subtle and interesting. He has real chemistry with Both Binoche and Wright Penn. Unfortunately the characters are so developed they do not leave much room for the plot.
It's a story full of metaphors. The title 'Breaking & Entering', in
fact, captures and summarises all metaphorical scenes in this film:
breaking an old relationship and entering a new one, breaking a window
and entering a building, breaking a class boundary and entering a new
middle ground. Even a construction site where the architect, starred by
Jude Law, works symbolises a place composed of frequent breaking
activities (knock down old buildings) and entering activities
(constructing new buildings and entering a new space). The beautiful
cinematography that often blurs a part of one scene, and the endless
passing through a door are the other two significant symbols of
'breaking and entering' activities.
However, apart from the arty way of presenting the story, I was disappointed by the story. I reckon the story would be more gripping if the architect starred by Jude Law made a more definite decision - broke up with his wife/girlfriend and start a new relationship with a low class immigrant starred by Juliette Binoche. But on the other hand, if such a decision were made, the whole film probably lost its meaning and beauty of blurring and confusing after breaking and entering.
Jude Law and Juliette Binoche performed outstandingly while Robin Wright Penn did not really catch the role - she badly interpreted this middle class white woman who was a stressful mum uncertain about her relationship. I thought Nicole Kidman's role in Eyes Wide Shut would fit well if migrated to this film.
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