Michael (Liam Neeson) is a Pulitzer Prize-winning fiction author who has holed himself up in a hotel suite in Paris to finish his latest book. He recently left his wife, Elaine (Kim Basinger), and is having a tempestuous affair with Anna (Olivia Wilde), an ambitious young journalist who wants to write and publish fiction. At the same time, Scott (Adrien Brody), a shady American businessman, is in Italy to steal designs from fashion houses. Hating everything Italian, Scott wanders into the Café American" in search of something familiar to eat. There, he meets Monika (Moran Atias), a beautiful Roma woman, who is about to be reunited with her young daughter. When the money she has saved to pay her daughter's smuggler is stolen, Scott feels compelled to help. They take off together for a dangerous town in Southern Italy, where Scott starts to suspect that he is the patsy in an elaborate con game. Julia (Mila Kunis), an ex-soap opera actress, is caught in a custody battle for her 6 ...Written by
Sony Pictures Classics
The full name of James Franco's character, Richard Wiess, only appears twice, and is never spoken. You see it first in Paris, when Michael (Liam Neeson) and Anna (Olivia Wilde) are walking in front of a building (you can see that his work will be featured there soon), and again when Julia (Mila Kunis) rings the buzzer at his building in New York City. The name next to the buzzer is R. Weiss. See more »
When Olivia Wilde's character is locked out of Liam Neeson's character hotel room, she is completely naked and in such conditions she runs down the corridor and stairs towards her own room. When she enters it, she can be seen wearing knickers. See more »
Paul Haggis is best known as the director of the movie "Crash", which was the controversial winner of the Oscar for Best Picture in 2006 over its closest rival "Brokeback Mountain." Haggis is also the first screenwriter to win Oscars for Writing for two consecutive years, "Million Dollar Baby" in 2005 and "Crash" in 2006. It was the name of Paul Haggis that drew me to check out "Third Person" without knowing anything else about it.
Like "Crash", "Third Person" is also a film with multiple story lines. I have liked movies like this since I have seen "Amores Perros" and "21 Grams." I have admired how the scriptwriter managed to clearly tell three or four stories and then connect them to each other with an overarching bigger story.
Michael (Liam Neeson) is an aging Pulitzer-prize winning author who left his wife Elaine (Kim Basinger) and is now having an affair with a much younger Anna (Olivia Wilde) in Paris. Scott (Adrien Brody) is an unscrupulous clothing businessman who gets entangled with the shady financial problems of a gypsy-like local lady Monika (Moran Atias) in Rome. Julia (Mila Kunis) is a poor divorcée who lost custody of her young son to her estranged husband Rick (James Franco) because of an unfortunate accident with a plastic laundry bag.
It was good to see Liam Neeson again in a straight drama, not in another action vehicle that he is wont to do lately. Olivia Wilde is daring, gorgeous and smart, the perfect femme fatale. Mila Kunis stands out in a very serious dramatic role. Her brutally-emotional confrontation scene with James Franco was amazingly acted out. In terms of romantic chemistry though, the best was between Adrien Brody and Moran Atias. Their story line was interesting on its own, but seemed furthest off from any connection with the other two stories.
The underlying issue and conflict in all three stories was about trust. Anna's bizarre behavior is driving Michael nuts about her loyalty. On the other hand, Michael is using their stormy relationship as the subject of his book seemingly without Anna's consent. Monika's connection with a sleazy extortionist has Scott doubting her innocence. Rick cannot trust Julia anymore with even basic visitation rights to their son.
Even at the two hour mark, the three stories seem to be slowly losing their steam and getting nowhere without any detectable connection to each other. However, just as I was losing hope as to this film's ability to end properly, suddenly comes a most surprising development that actually manages to solidify the three disparate segments of this film into a single coherent whole. Paul Haggis has done it again to weave his magic with this inventive type of story telling via film.
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