A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her ...
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Robert De Niro,
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A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her leave him after a short, but passionate affair. Anna and Mike, who play the characters of Sarah and Charles, go, during the shooting of the film, through a relationship that runs parallel to that of their characters.Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
Source novelist John Fowles once said of the casting of Meryl Streep in the lead female roles: "I thoroughly approved. I had often thought of Sarah as American in her independence and freedom from convention". See more »
While at the house in the Lake District, the reaction to Sarah being pushed to the ground by Charles is genuine; Meryl actually hits her head on the floor & when Jeremy acknowledges; she nods, giggles & reorients herself in position next to him. See more »
[describing how she became the French Lieutenant's mistress]
Soon he no longer bothered to hide the nature of his intensions towards me. Nor could I pretend surprise. My innocence was false from the moment I chose to stay. I could tell you that he overpowered me, he drugged me. But it was not so... I gave myself to him.
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Romanticism without the "base" alloy of actual feeling
This is a real curio of a movie, more a dry experiment with form than a story concerning fleshed-out characters. The primary focus is on the plot developments of a film within the film--a story of two illicit lovers in 19th century England--while a secondary narrative follows the two leads in that film who pursue a similar relationship to the one they portray. The way these two stories intercut back and forth is, unfortunately, one of the few interesting things in the movie. Unique to this presentation is the way the Victorian Era scenes are shown only (with the opening scene being a lone exception) as a finished product, that is, we see that part of the film as its theoretical audience would. There are no shots of cameras in the foreground, no scenes of director and crew watching rushes in a darkened theater. This device might have allowed the viewer to become more involved in the "old-time" goings on--if only we had been given something, anything onto which we could have hung our emotional hats. This is the insurmountable problem of "The French Lieutenant's Woman." While the Victorian Era plot is luxuriantly mounted--while the characters are played by wonderful actors--the "heart" of this film is occupied by this film within a film device. While interesting, it's not enough to keep our interest from flagging. In both story lines, emotions are uniformly muted, or absent altogether. The 20th century story is about two bored actors who engage in their affair simply as a distraction from the tedium of making a movie. No hint of passion here. The Victorian narrative at least provides a HINT of feeling, but always held at arms length--and further attenuated by the inevitable return to the modern story, reminding us that the "costumer" portion of the film is not only not real, but TWICE removed from reality. There is a scene at the end of the movie where all signs point to some grand cathartic denouement--a scene where, finally, we will be swept up into the currents of these players' lives, the promise of romance finally realized. Instead we are given an awkward, bumbled scene without so much as a kiss or an eloquent avowal of love. We are left with a muted, distant view of the two purported lovers on a lake--its surface as calm and unmoved as the film's audience. A disappointing end to a disappointing film.
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