Kate Winslet (Julia) eschews the glamour here in favor of depicting a 25-year-old mother of two seeking adventure and enlightenment with the Sufis in Morocco (instead of with the yogis in India, as was once the fashion). The year is 1972 and Julia might be a welfare mother except that there's no dole and the locale is rather exotic. Having left her poet husband behind in London, rather than "share him," Julia seeks the annihilation of the ego, and the god within. What she finds (aside from the fact that she's a little too young for that) is Bilal (Said Taghmaoui), a Marrakech street performer of questionable character who speaks English and charms her and her daughters.
Beautiful cinematography combined with a steady effort by Kate and winning performances from Bella Riza (Bea) and Carrie Mullan (Lucy) as her pre-adolescent daughters, however, cannot quite save this slightly plotted, although always realistic tale, from the bargain video bin.
Too bad because there is something wonderfully charming and honest about this film. "Wow! Hideous! Kinky!" is what the girls like to exclaim (in their London accents) in reaction to their experiences in the world. When Bea, wise as only a seven-year-old can be, describes the women on the balcony as "prostitutes," so thick is her accent that only the context allowed this old Yankee's ears to comprehend. There is a little peek-a-boo nudity that might offend some, and yes Marrakech and environs look as clean and sparkling as an upscale suburban mall, and true the editing is jumpy and a little chaotic; but in the land of the whirling dervishes perhaps this is as it should be. Bea is the daughter who disapproves of mum's adventurous spirit and wants to be "normal" and go to school every day (reminding me of Cher and Winona Ryder in Mermaids (1990)), while younger daughter Lucy finds love in her heart for all, especially for mum's new boy friend, Bilal. Somehow she actually teaches him the beginnings of responsibility, while he shares with them the delight of being alive.
I think what carries this story (from the novel by Esther Freud–yes, a relation) and made it an attractive part for Kate Winslet is the fair and honest character of Julia who struggles to find herself while caring for two little girls, which is what it is like for all women. A woman cannot find herself alone. She cannot throw off the constraints and responsibility of being a mother, because those are HER children. So she must take them along where ever she goes and find with them whatever it is she seeks, and this is a burden and a delight, as this film, despite its shortcomings, clearly shows.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
Beautiful cinematography combined with a steady effort by Kate and winning performances from Bella Riza (Bea) and Carrie Mullan (Lucy) as her pre-adolescent daughters, however, cannot quite save this slightly plotted, although always realistic tale, from the bargain video bin.
Too bad because there is something wonderfully charming and honest about this film. "Wow! Hideous! Kinky!" is what the girls like to exclaim (in their London accents) in reaction to their experiences in the world. When Bea, wise as only a seven-year-old can be, describes the women on the balcony as "prostitutes," so thick is her accent that only the context allowed this old Yankee's ears to comprehend. There is a little peek-a-boo nudity that might offend some, and yes Marrakech and environs look as clean and sparkling as an upscale suburban mall, and true the editing is jumpy and a little chaotic; but in the land of the whirling dervishes perhaps this is as it should be. Bea is the daughter who disapproves of mum's adventurous spirit and wants to be "normal" and go to school every day (reminding me of Cher and Winona Ryder in Mermaids (1990)), while younger daughter Lucy finds love in her heart for all, especially for mum's new boy friend, Bilal. Somehow she actually teaches him the beginnings of responsibility, while he shares with them the delight of being alive.
I think what carries this story (from the novel by Esther Freud–yes, a relation) and made it an attractive part for Kate Winslet is the fair and honest character of Julia who struggles to find herself while caring for two little girls, which is what it is like for all women. A woman cannot find herself alone. She cannot throw off the constraints and responsibility of being a mother, because those are HER children. So she must take them along where ever she goes and find with them whatever it is she seeks, and this is a burden and a delight, as this film, despite its shortcomings, clearly shows.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)