A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
Two London brothers are hard-up for cash, and both have girls to look out for, too. When rich Uncle Howard comes to town and agrees to help them out, he admits his finances are under investigation, and he asks them to do him a favor and "take care of" an old business relation to keep his trouble under wraps - he says that they're family, and since he always takes care of them, the least they could do is help him out this once, as they're the only ones he can trust. The film follows their struggle with the immorality of this request and how each brother chooses to deal with it. Written by
The ashtray and the cigarette pack keep appearing and disappearing on the table when Terry is eating with his whole family in the beginning of the movie. See more »
Ah, she's a beauty! I mean, look her - she's not new, but she looks new. He said the engine needed work.
I could do the engine.
I can't believe he's asking so little. It's practically a steal.
John Anderson said we could keep it at his marina - free of charge - at least for a year till his son comes back.
Ah, here he comes. Don't show you're too eager or he won't budge on the price, all right?
See more »
When I saw this film at the theater with my friend, I was disturbed by the laughter I heard constantly around me as response to several things in the movie. Whenever Tom Wilkinson coerces Ewan McGregor and/or Colin Farrell to commit murder or something equally heinous, people began to cackle as if Woody Allen meant it as black humor. When the lights came up, I found that the theater was full of middle-aged social circles. The very affected man behind me said to his wife, "That was a funny movie." No, sir, it wasn't. Do not let insecure pseudointellectuals influence your perception of Cassandra's Dream. It is perhaps the darkest of Woody's forays into drama. It even references Greek tragedy in dialogue as its narrative structure concurs with it.
McGregor, Farrell, and Wilkinson turn in absolutely astounding performances, among the best of their careers thus far. Farrell drains himself emotionally and Wilkinson plays possibly the most twisted and disturbed character Woody's ever created, a sort of role for which Wilkinson is highly capable. McGregor, while not quite as strong as the other two, is a formidable lead amongst them, the one of two brothers whose sense of self is capable of hiding behind itself more comfortably than Farrell.
Cassandra's Dream is, as some of Woody's earlier dramatic efforts have been, an exercise. He's flexing his wings but the story is not personal as ironically are nearly every comedy he's done and even Match Point. It is a plot, classically ordered with one central character's wants and needs, augmenting or diminishing depending on the prearranged moral message. This is not a problem at all with the movie except that it makes it more detached than his best films. The ending portrays the forensic efficiency of London police as capable of discovering deaths before there being any way of reporting them, as well as determining things only determinable by lab tests, however the film is still just as enthralling, well-made and intelligent as every one of his movies, from the best to the least.
One of the highlights of the film is Philip Glass's musical score, which is almost reminiscent of Jonny Greenwood's score for There Will Be Blood, only much more pulsating and much less dissonant.
5 of 5 people found this review helpful.
Was this review helpful to you?
| Report this