Lust In Translation.
94 Mins. Starring: Colin Farrell, Kirsten Dunst, Elle Fanning, Oona Laurence & Nicole Kidman. Director: Sofia Coppola.
Ladies man Colin Farrell has a way with women. In the past the Irish actor has been romantically linked with everyone from Angelina Jolie to Britney Spears. And lets not forget the Playboy models. But no more. When it comes to this movie, this time the fairer sex are having their wicked way with him. And how devilishly good it is. Farrell playing a forlorn and near mortally wounded soldier is nursed back to health by a seminary of students in a school for women. Talk about putting a fox in a hen house. He can't believe his luck. But it's not a lady tonight, as one boys fantasy is another mans nightmare. This Romeo surrounded by Juliet's should have really read how all that Shakespeare played out. It's 1864. And in unfair Virginia is where we lay our battle born scene. In the midst of the ragingly real Civil War and not the one Chris Evans and Robert Downey Jr. came to blows over, this gothic romance takes place. As muted cannons fire in the background of the depths of the forest, not as film fodder but subtle symbolism evoking the ringing out nature of chimes of time that have nothing to do with freedom. From Francis Ford daughter and 'The Godfather Part III' teen star, better known as 'The Virgin Suicides' and 'Lost In Translation' director Sofia Coppolla comes 'The Beguiled'. A remake of the 1971 Clint Eastwood classic, itself an adaptation of Thomas P Cullinan's novel from over a half century ago. After going by 'The Bling Ring' book boldly with 'Harry Potter' star Emma Watson (before she was the Belle of the 'Beauty and the Beast' ball) and reuniting with legend Bill Murray after their iconic Japanese love story (like we just wish he did with Scarlet Johansson after their Tokyo trip) for Netflix's 'A Murray Christmas', Sofia chooses to flip gender politics on their ignoramus head with what translates as her best picture since she was lost in unidentifiable neon. It charmed in Cannes to the tune of standing ovations and the Academy might hear all that applause come next Valentines weekend. Because this scarlet love letter to melodramatic frills of fancy speckled with blood shows no mercy to even a mercenary. Man you're going to truly feel what it's like for these women.
Southern hospitality is in need of an actual hospital stay. Forget the courtsey. As this 'Get Out' level genre crushing, thriller drama of 2017 brings the Kathy Bates 'Misery' to what you thought was just another case of Mr. Darcy. Quite not right indeed. Because this isn't Colin Firth. This is Colin Farrell we are talking about here ladies and gentelmen. Smooth as negligee silk this is not. This outfit is laced with lust for the flesh, jealousy and a fate worse than death and it doesn't leave the house in a stage worthy of all the players. By the time the best dress turns into a nightgown you'll have no idea what's about to go down. This slow burner drips like midnight melted candlewax down the back of your spine. Beware of the heat though. Have care as Coppola cranks this pressure cooker up to a melting pot of haunting hormones and repressed desires that ravish like the beauty that lies behind unspoken gestures and sighs that really scream it all from the balcony rooftops. As Farrell tends to the ladies garden and they look after him this whose-done-do-it affair never lets up like the fire of ignited passion. Even the light relief of an innuendo filled squabble over the crust of an apple pie and who baked it could leave you with more than cheeks a shade this side of pink lady, as this like many dinner time discussions could turn rotten at any moment. Can you tell them to pass the salt? And that's the core of this very plot as these little women grow up and apart before our eyes and before their minds ever realize to see it's happening. Now how dya like them apples? As Sofia goes big with her seventh seal in the bullhorn speakers chair. A Coppola hasn't been this scary good with the American Gothic since Bram Stoker's 'Dracula'.
And getting his teeth into this one Colin Farrell is fantastic as a wolf who can huff and puff all he likes but will never blow this house down. Because this animal is surrounded by lions not lambs. Turning the male predatory gaze in on itself, this reflection of the war between man and women and lust over love bumps in the night like the paint cracks in the portrait of Dorian Gray. And no matter what tries to tear him down the ever leading Hollywood actor and critically underrated thespian Colin Farrell is formidable in a commanding role of caustic charm. Showing the inner turmoil conflict like his guilt ridden 'In Bruges' hitman. Or the whiskey soaked, drowning despair of the father to the woman who made Mary Poppins in 'Saving Mr. Banks'. Not to mention the isolated loneliness of his work-alone cop in 'True Detective'. For a movie about the choice between love and death with themes and metaphors that still snip at today like 'The Lobster'. But after he's rescued by a mushroom picking Oona Laurence in a breakout star making role Farrell discovers more than what meets his wandering gaze. As he eyes a palace of a house, turned womens retreat with all the men at war. At the not so welcome mat there Colin finds Australian actress Nicole Kidman at the head of this household. And the Academy Award nominated icon continues to roar after 'Lion' nearly clawed an Oscar, with another beast of a performance that seemingly society construct cowers beneath regal grace. As Coppola reunties with her 'Mary Antoinette' too we see the best we've seen from Kirsten Dunst since she was submerged in a wedding dress for 'Melancholia'. Here playing another character sheltered in shy sadness as she wishes she could be someones runaway bride and leave the menial tasked, mental prison of a place she calls home behind. But working with Sofia for the first time since she was 14, it's next superstar to be, great actress of the moment Elle Fanning who steals the show, like she looks to steal the hearts of men with a model performance. Shining like 'The Neon Demon' illuminating rise, with all the beauty and the ugly truths that lie within. As jealousy and the fire of desire collide, body and soul, blood sweat and tears the only thing she doesn't divide is critics. And are we all in agreement that this is filmmaking at its finest no matter what we take from it? As isn't diverging opinions on what this is all about what makes these most talked about films the word on everybodies lips from the tips of their tongues. There's lessons of the heart to be learned here from another amazing adaptation at the same time as the breakthrough 'The Handmaids Tale' series. This motion picture is saying the same thing as those Handmaids, albeit in a different shade of red. And also that sometimes in love and in war there really are no true nature villains, just victims of circumstance and their extenuating effects. But as this weaving heart string plot is pulled corset taught, you can cut the sexual tension with a fixed bayonet. And just as you though this compelling piece of cinema was passing at a pleasant 'Pride and Prejudice' place, problems and peril ensue from help to cries for it. Coppola copps another classic whilst Colin catches hell. To be 'Beguiled' is defined by a certain enchanting ideal. And without deception this is that and truly the charm. TIM DAVID HARVEY.
See This If You Liked: 'The Beguiled (1971)', 'Lost In Translation', 'My Cousin Rachel'.
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