Barkley Michaelson is in a deep life rut. He's struggling to finish his PhD thesis when his father, the learned Eli Michaelson, wins the Nobel Prize for Chemistry. Barkley and his mother, ...
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Barkley Michaelson is in a deep life rut. He's struggling to finish his PhD thesis when his father, the learned Eli Michaelson, wins the Nobel Prize for Chemistry. Barkley and his mother, Sarah, a renowned forensic psychiatrist, now have the ill-fortune of living with a man-eating monster whose philandering ways have gotten less and less discrete. As if Barkley's world is not bad enough, on the eve of his father receiving the Nobel, Barkley is kidnapped and the requested ransom is the $2,000,000 in Nobel prize money. Needless to say, Eli refuses to pay it and so starts a venomous tale of familial dysfunction, lust, betrayal and ultimately revenge. In the words of Michel De Montaigne, the 16th century philosopher: "There is more barbarity in eating a man alive than in eating him dead." Written by
Randall Miller & Jody Savin
In the scene where Eli and Sarah are back in their house with the reporters on their lawn, the scene pans between the characters and the mantel. On the mantel is a black and white picture of a man with a mustache which actually happens to be younger Alan Rickman from a previous movie, probably around the time of his movie, Truly Madly Deeply. The picture can be seen multiple times in this scene. See more »
In the mall scene the mini cooper used was a base model but the sound coming from the motor was that of a Supercharged S model. See more »
The French essayist, Michel de Montaigne, once said, "I think there is more barbarity in eating a man alive than in eating him dead." The wisdom of it. When you were a kid with an open soul, they told the world consists of good guys and bad guys. I always liked the bad guys. Scar Face over Superman.
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Feed Your Mind (Underworld Mix)
Written by Paul Oakenfold, Ian Green and Clifford Magreto
Performed by Paul Oakenfold
Remixed by Karl Hyde and Rick Smith (as Richard Smith)
Courtesy of Maverick Recording Company, Perfecto Records and EMI France
By arrangement with Warner Music Group Film & TV Licensing See more »
Nobel Son is not an easy film to foretell, and with its constant genre-morphing subplots, psychotic characters and unordered narrative, it will keep you guessing all the way through. This escape from convention is not always a good thing the first half hour of the film tries the patience and is so disjointed and seemingly nongermane that it's impossible to predict the relationships of the bizarre events. Once you've made it to the second act, pieces start to fall into place and realizations are hinted upon, but it doesn't stop there. More twists, more complexities and one too many unlikely coincidences might make you think twice before feeling satisfied by this suspenseful drama/dark comedy/horror/mystery thriller.
The opening scene consists of an alarmingly brutal thumb-severing bit of violence that perfectly paves the way for the unpredictable and mind-boggling adventure that follows. Eli Michaelson (Alan Rickman, in a wonderfully despicable role that he continually excels at) has just been announced as the winner of the Nobel Prize for his stellar work in chemistry. He's egotistical, eccentric, uncaring and obnoxious, and has been handing out higher grades in exchange for sex with his young female students. His son Barkley (Bryan Greenberg) is struggling with his PhD thesis on cannibalism (his opening line of narration quotes Michel De Montaigne, a 16th century philosopher: "There is more barbarity in eating a man alive than in eating him dead."). He also struggles with an awkward romance with City Hall (Eliza Dushku), a morbid poet and artist with her own bountiful measure of oddness.
Eli's wife Sarah (Mary Steenburgen) is a renowned forensic psychiatrist who is fancied by Max Mariner (Bill Pullman), a somewhat crafty detective. On the morning of the family's trip to Sweden to attend the Nobel Prize party, Barkley is kidnapped and held for a $2 million ransom; the money awarded to Eli. From here, backstabbing, jealousy, lust and greed collide in nonstop twists and turns, proving that once again nothing is what it seems.
Every character in Nobel Son is devious, shrewd, freakish, obsessive compulsive or morally flawed (most often all of those combined) making it difficult to side with any of the numerous antiheros. The first plot surprise is unique and smart, but then the filmmakers try too hard and it becomes unnecessarily convoluted. This is where the unexpected genre confusion comes into play, at times heading down the path of taut mystery thriller, always mixing in dark, subtle humor (and blatant grossness with poetry reading from "Death By Drain-O" and verses involving bathing in excrement), and eventually borrowing from films like David Fincher's Seven, Body Heat, Wild Things and even Mission: Impossible.
Nobel Son is definitely a shock to the system, an unconventional film that reminds us of the chaos of those rare movies that breathe life into the most peculiar characters and situations. It's not perfect and its originality only comes from the amount of time that has passed since a movie like this was presented, but it's certainly worth a try.
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