Possession (2002)

A pair of literary sleuths unearth the amorous secret of two Victorian poets only to find themselves falling under a passionate spell.

Director:

Neil LaBute

Writers:

A.S. Byatt (novel), David Henry Hwang (screenplay)

Stars:

Gwyneth Paltrow, Aaron Eckhart, Jeremy Northam

1 nomination.

Cast

Cast overview, first billed only:
Gwyneth Paltrow	...	Maud Bailey
Aaron Eckhart	...	Roland Michell
Jeremy Northam	...	Randolph Henry Ash
Jennifer Ehle	...	Christabel LaMotte
Lena Headey	...	Blanche Glover
Holly Aird	...	Ellen Ash
Toby Stephens	...	Fergus Wolfe
Trevor Eve	...	Cropper
Tom Hickey	...	Blackadder
Georgia Mackenzie	...	Paola
Tom Hollander	...	Euan
Graham Crowden	...	Sir George
Anna Massey	...	Lady Bailey
Craig Crosbie	...	Hildebrand
Christopher Good	...	Crabb-Robinson

Storyline

Roland Michell is an American scholar trying to make it in the difficult world of British Academia. He has yet to break out from under his mentor's shadow until he finds a pair of love letters that once belonged to one of his idols, a famous Victorian poet. Michell, after some sleuthing, narrows down the suspects to a woman not his wife, another well known Victorian poet. Roland enlists the aid of a Dr. Maud Bailey, an expert on the life of the woman in question. Together they piece together the story of a forbidden love affair, and discover one of their own. They also find themselves in a battle to hold on to their discovery before it falls into the hands of their rival, Fergus Wolfe.

---

Plot Keywords:

nonlinear timeline | victorian poet | poet | academia | letter | 

---

Taglines:

The past will connect them. The passion will possess them.

---

Genres:

Drama | Mystery | Romance

---

Motion Picture Rating (MPAA)

Rated PG-13 for sexuality and some thematic elements

Details

Country:

USA UK

Language:

English French

Release Date:

30 August 2002 (USA)

Also Known As:

Posesión

Filming Locations:

Goathland, North Yorkshire, England, UK

Box Office

Budget:

$25,000,000 (estimated)

Opening Weekend USA:

$1,575,214, 18 August 2002, Limited Release

Gross USA:

$10,103,647, 13 October 2002

Company Credits

Production Co:

Focus Features, Warner Bros., Baltimore Spring Creek Productions

Technical Specs

Runtime:

102 min

Sound Mix:

DTS Dolby Digital SDDS

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Aaron Eckhart enters the movie riding on the rear platform of a bus. The vehicle in question is RM 3, the third example ever built, and one of the prototypes, of London's most iconic red bus, the Routemaster.

---

Goofs

Bailey's driving license has 'Miss Maud' on the line for forenames. UK driving licenses don't have titles or Mr/Mrs/Miss on there.

---

Quotes

[first lines]
Randolph Ash: They say that women change. 'Tis so, but you are ever-constant in your changefulness. Like that still thread of falling river, one from source to last embrace, in the still pool ever-renewed and ever-moving on, from first to last, a myriad water-drops.

---

Connections

References The French Lieutenant's Woman (1981)

---

Soundtracks

Possesso
Performed by Ramón Vargas
Conducted by Gabriel Yared
Music by Gabriel Yared
Original lyrics by Peter Gosling
Italian translation: Michela Antonello
Orchestra leader: Cathy Thompson
Produced by Gabriel Yared and Graham Walker

User Reviews

pretty to look at, but have the filmmakers understood the book?

This film offers some gorgeous visuals and some great performances - notably those by Jeremy Northam and Jennifer Ehle (a bit of a casting joke since those two are famous for playing Jane Austen's Mr. Knightley and Elisabeth Bennet, respectively) - but as a literary adaptation, the movie falls short on too many points. Sadly, the filmmakers have missed out on most of the central themes of the novel, without substituting a sufficiently interesting interpretation of their own.

A.S. Byatt's novel examines the shifting relationships between men and women a century and a half apart - to that end, the characters in the two storylines (the Victorian and the contemporary) mirror each other deliberately. For some unfathomable reason, the screenwriters have decided to cut out completely two crucial characters from the modern-time storyline - Val, Roland's girlfriend, and the feminist (and Lesbian) researcher friend of Maud's, whose name I forget - their equivalents in the Victorian period are Ash's wife, and Christabel's lover Blanche.

One of the main interests of the original story lies in the ways in which the relationships between those characters have changed because of the changes in society that the 20th century has brought - particularly the way the main characters relate to each other (significantly, Maud is the stronger and more successful person in the modern-time relationship) - but also with respect to all the other characters involved (Roland and Val's relationship, which is based almost exclusively on sex, as contrasted with Ash's and his wife's relationship, which is entirely sex-less - the point here being that in a truly fulfilled relationship, these two things must be in balance).

Also, the characters, particularly that of Roland, are bent and twisted beyond recognition - I have nothing against Aaron Eckhard or his performance, but he simply plays a completely different character from the Roland Mitchell of the novel - who is *not* brash (nor is he celibate), but has a certain mousy-ness about him that is quite essential to the plot. Also, he is British for a reason, so making him into an American adds a completely wrong dimension to his and Maud's differences. Judging from the director's commentary, the main reason for casting Eckhard was that he's a buddie of director Neil La Bute's - it's a sad thing that the filmmakers decided to twist the character and plot to accomodate the actor, rather than making a more informed casting choice, as I am sure there are plenty of suitable British actors out there that would have fitted the part admirably.

Gwyneth Paltrow offers a convincing enough performance, and is well-cast as Maud Bailey - a woman whose physical attractiveness stands in the way of her being taken seriously as the bright academic she is. But she is not being given enough scope to be the reserved intellectual she is supposed to be, because her relationship with Roland developes far too quickly, and with not enough plausibility (particularly given a certain lack of chemistry between the two actors) - thereby missing another of the main themes (and contrasts) in the novel.

Having said that, the film is worth watching for its final five minutes alone - and incidentally, this is the one scene that catches most accurately the spirit, and the point, of the original novel.