Cultural critic David Kepesh finds his life -- which he indicates is a state of "emancipated manhood" -- thrown into tragic disarray by Consuela Castillo, a well-mannered student who awakens a sense of sexual possessiveness in her teacher.
HEAD IN THE CLOUDS is a sweeping romantic drama set in 1930's England, Paris, and Spain. Gilda Bessé shares her Paris apartment with an Irish schoolteacher, Guy Malyon, and Mia, a refugee ... See full summary »
David Kepesh is growing old. He's a professor of literature, a student of American hedonism, and an amateur musician and photographer. When he finds a student attractive, Consuela, a 24-year-old Cuban, he sets out to seduce her. Along the way, he swims in deeper feelings, maybe he's drowning. She presses him to sort out what he wants from her, and a relationship develops. They talk of traveling. He confides in his friend, George, a poet long-married, who advises David to grow up and grow old. She invites him to meet her family. His own son, from a long-ended marriage, confronts him. Is the elegy for lost relationships, lost possibilities, beauty and time passing, or failure of nerve? Written by
David tells Consuela that she looks like Goya's Maja Desnuda. Penélope Cruz (who plays Consuela) plays Pepita Tudó in Volavérunt (1999), possibly a model for the Maja Desnuda. See more »
At one point Ben Kingsley says to Penelope Cruz, "The beast with two backs. Where's that from?" She answers Shakespeare and he agrees that it's from Othello. The fact is that Shakespeare borrowed it from the original author, Francois Rabelais. The phrase appears in French as "la bête à deux dos" in Gargantua and Pantagruel, 1532. See more »
When you make love to a woman you get revenge for all the things that defeated you in life.
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This is the first time that Roth has been successfully transferred to the screen. An uncompromising movie for grownups with two exquisite central performances, and some very nice supporting turns by Clarkson, Hopper and Sarsgaard. What impressed me about this movie is that it dares to be slow, dark, almost meditative. Roth's short book does not have much plot to it, so that adapting it to the screen runs more risks than would be the case for one of his more developed novels. But the director and screenwriter make a virtue of the book's spare narrative elements. It takes its time studying faces, glances and shadows. I will be happy if I see another movie half as good this year.
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