I intentionally avoided any reviews of this film. Therefore, going into the theatre, I half expected a thriller and/or horror genre film. While it is certainly atypical of what most viewers would define as horror, Dead Pretty Things is both gripping and sublime in its unsettling exploration into the lives of the underclass, or perhaps more apt named, the ignored class.
The film centers around the exploits of a group Londoners who just happen to be illegal aliens fighting to survive and make a place for themselves in the "civilized" world. They are for the most part a loyal bunch of compatriots who struggle to make an honest living, to realize their dreams, and to do all of it whilst avoiding both immigration police and unscrupulous individuals out to exploit their desperation.
In the film, we observe their failures and successes, and we empathize with their tough choices. This is a human film about real horror - those things that would force a person to sell his/her body and dreams just to survive, and the toll it takes on the human heart. But these are not perpetual victims. The film offers a glimmer of hope for those brave enough to seize the day and remain true to their ideals, an in this way it is an empowering vision for the viewer. The fact that the heroes of this film are the people who do the "dirty work" in modern society (the maids, the janitors, etc...) allows for a a refreshing look at the modern "class" distinctions in a way not too different from Robert Altman's Gosford Park.
This offering from Dangerous Liasons and High Fidelity director Stephen Frears is perhaps his most humane work yet, and it's worthy of a nod by the Academy. The climax is a tad predictable and the denouement practically unsatisfying, but strong performances by Amelie's Audrey Tautou, and Amistad's Chiwetal Ejiofor propel this film through the back alleys and underbelly of urban life without the cliche angst typical of many Martin Scorsese films (and those who are influenced or try to duplicate his work). While it certainly does not play out like a David Lynch film, there is a Blue Velvet sense to this film that pushes it over the edge into the quirky dark humor in the midst of troubling character study. It's an enjoyable viewing experience, and I'd have to agree with critic Roger Ebert who said that it's like "two movies" for the price of one.
The film centers around the exploits of a group Londoners who just happen to be illegal aliens fighting to survive and make a place for themselves in the "civilized" world. They are for the most part a loyal bunch of compatriots who struggle to make an honest living, to realize their dreams, and to do all of it whilst avoiding both immigration police and unscrupulous individuals out to exploit their desperation.
In the film, we observe their failures and successes, and we empathize with their tough choices. This is a human film about real horror - those things that would force a person to sell his/her body and dreams just to survive, and the toll it takes on the human heart. But these are not perpetual victims. The film offers a glimmer of hope for those brave enough to seize the day and remain true to their ideals, an in this way it is an empowering vision for the viewer. The fact that the heroes of this film are the people who do the "dirty work" in modern society (the maids, the janitors, etc...) allows for a a refreshing look at the modern "class" distinctions in a way not too different from Robert Altman's Gosford Park.
This offering from Dangerous Liasons and High Fidelity director Stephen Frears is perhaps his most humane work yet, and it's worthy of a nod by the Academy. The climax is a tad predictable and the denouement practically unsatisfying, but strong performances by Amelie's Audrey Tautou, and Amistad's Chiwetal Ejiofor propel this film through the back alleys and underbelly of urban life without the cliche angst typical of many Martin Scorsese films (and those who are influenced or try to duplicate his work). While it certainly does not play out like a David Lynch film, there is a Blue Velvet sense to this film that pushes it over the edge into the quirky dark humor in the midst of troubling character study. It's an enjoyable viewing experience, and I'd have to agree with critic Roger Ebert who said that it's like "two movies" for the price of one.