Gods and Monsters (1998)
Director: Bill Condon
Scenario: Christopher Bram, Bill Condon
Genre: Drama, Biography
Country: UK, USA
Duration: 105 min
Actors: Ian McKellen, Brendan Fraser, Lynn Redgrave, Lolita Davidovich, David Dukes, Kevin J. O’Connor, Mark Kiely, Jack Plotnick, Rosalind Ayres, Jack Betts, Matt McKenzie, Todd Babcock, Cornelia Hayes O’Herlihy, Brandon Kleyla, Pamela Salem
Dugo sam ovaj film čuvao na hard disku jer naprosto nisam bio raspoložen da ga gledam. Ipak sam danas nakon napornog posla odlučio da ga odgledam i stvaim na bolg. Obično filmove koji mi se ne sviđaju ne komentarišem, ali ovaj me se doista dojmio!
Idu godine naprosto lete i što smo stariji to imamo više priča iz sopstvenih života. Vremenom će mo sigurno ostati sa svojim uspomenama i pričati svoje priče u nadi da će ih možda ipak neko zapamtiti.
Tako je i ovaj režiser James Whale, predkaraj života ostao da živi među svojim slikama, pričama i filmovima. Stvari ponekad imaju svoje posebno značenje, kada ih uzmemo u ruku ili samo pogledamo vrate nas u neku našu priču i makar na trenutak probude u nama emocije koje smo davno zaboravili.
Ova priča o režiseru, prvaku filmova o Frankeštajnu, me je podsjetila na jednog starca kojeg sam volio na jedan poseban način.Pričao mi je priče iz svog života, o ratu, o ljubavi o strasti, o ljudima…. Sve sam upijao kao sunđer i od njega sam mnogo naučio. Pričao mi o svom braku, djeci, razvodu, ljubavi prema muškarcu i o tome kako moramo uvjek naći način da poslušamo svoje srce. Jednom prilikom mi je rekao da mu mnogo značim jer zna da će ipak neko znati njegovu priču koju nikome nikada nije ispričao. Na žalost on nije više živ, ali mnoge stvari o kojima mi je on pričao prenosim i ja vama!
Inače ovaj režiser James Whale, je živio uvijek onako kako je osjećao da mora i može. Snimao je filmove, živio u svojoj imaginaciji, putovao, slikao… Pred kraj života upoznaje mladog čovjeka, nesigurnog u sebe i u njemu vidi reinkarnaciju nekog ko je davno nestao iz njegovog života!
Bil Condon nam na jedan poseban način prikazuje odnos ovejanog matorog homoseksualca i mladog heteroseksualnog baštovana.
Zaista sjajna psihološka drama!
By DENNIS HARVEY
Ian McKellen’s brilliant performance as 1930s director James Whale highlights “Gods and Monsters.” Historical Hollywood fiction drawn from Christopher Bram’s book “Father of Frankenstein” doesn’t always convince, particularly in the last lap. But it’s an engrossing, unusual, imaginatively executed bit of psychological gamesmanship nonetheless. Director-scenarist Bill Condon’s first-class production will need good reviews and strong marketing to cross over beyond gay and arthouse auds.
Brit-born Whale’s career took off brilliantly in the talkies’ first decade, starting with the transcription of his stage hit “Journey’s End,” then including the first “Waterloo Bridge” and “Show Boat.” His name was made, however — to a certain personal chagrin — by three witty, visually peerless Universal horror classics: “Frankenstein,” “The Invisible Man” and “Bride of Frankenstein” (the latter much-excerpted here).
Such success rendered even his fairly uncloseted homosexuality bearable to studio heads, who kept mum. But once their drastic recut of an expensive ’39 war pic, “The Road Back,” flopped, his career was finished. He was found at the bottom of his Pacific Palisades pool in 1957, under “mysterious circumstances.”
Story is set in helmer’s final days, painting a portrait of a physically frail, socially isolated has-been who feigns contentment hanging about his tony digs under the watchful eye of longtime Hungarian housekeeper Hanna (Lynn Redgrave). Just back from a stroke-induced hospital stay, he’s heavily medicated, clearly at rope’s end with his mental and bodily deterioration.
A stronger lure is the new gardener Clayton (Fraser), a muscle-bound, rootless odd-jobber living in a trailer. Though suspicious, this unsophisticated hunk is flattered by the attention. Cat-and-mouse play ensues, as the elder uses his new, vehemently heterosexual protege by turns for leering amusement, companionship and possible fatal delivery from a once-dignified life ebbing toward undignified fade-out.
Whale’s stroke-debilitated weavings in and out of reality provide vivid narrative punctuation. At times he recalls the working-class English childhood he’d fled (and falsified later for publicists); at others, scenes from his famed “Frankenstein” pics take on frightening immediacy. But the memory tugging hardest is of the great love he’d lost in World War I battle. That’s one he’ll take to — and hopefully re-embrace in — the grave, whether Clayton expedites matters or not.
Condon softens the harsher edges in Bram’s novel. Latter painted Whale as too bitchily misanthropic to allow much sympathy, while the book’s Clayton was an opportunist and quietly raging malcontent. Overall, changes from this cold playoff are to the good, making “Gods” more complex, more poignant than the “Sunset Boulevard”-style grotesque psychodrama it might have been.
Nonetheless, central character dynamic doesn’t entirely work. One problem is that Fraser — who’s lent intelligence, sweetness and comic flair to even Neanderthal roles like “George of the Jungle” and “Encino Man” — can’t help but make Clayton’s rudderlessness seem a bit improbable. We don’t believe he’d be so easily manipulated, or that he’d fare so poorly with women (Lolita Davidovich plays a barkeep who gives him the brush-off). As usual, Fraser gives a polished perf, but he’s miscast. He’s also stuck with a poorly conceived, gratuitous coda.
McKellen, on the other hand, has seldom found such an ideal role. This Whale keeps a silvery, barbed wit sharp for his own entertainment — in one memorable party scene, he embarrasses fellow gay helmer George Cukor in front of visiting Princess Margaret. Yet despair at his own helplessness, nostalgia and vague regret are ever-present. It’s a bravura turn.
Redgrave does a rather broad job with the stern, loyal, disapproving housekeeper; at times she seems to be parodying Lotte Lenya. Support roles (including fleeting stand-ins for stars Boris Karloff, Elsa Lancaster and Elizabeth Taylor) are well handled.
Though the last 15 minutes or so falter, director Condon (best known for the cult pics “Strange Behavior” and “Strange Invaders”) otherwise executes a demanding mix of intimate character drama and fantasy elements with imaginative grace.
Stephen M. Katz’s widescreen lensing is tops; some B&W segs successfully mimic “Bride’s” expressionist splendor, helped to no end by Richard Sherman’s dexterous production design. Carter Burwell’s score may be a tad earnest, but it does help ballast this curious story’s reach toward pathos.
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