Not gonna say too much except that I was hella impressed by this movie. It’s the sort of high-society period piece I usually stay away from, but with balls-out film technique and beautiful cinematography.
Swell, stringy music by Elmer Bernstein (Sweet Smell of Success, every 80’s comedy, Far From Heaven). Beautiful opening titles by Saul Bass. Shot by Michael Ballhaus (The Departed, Quiz Show, tons of Fassbinder) and edited by Powell’s widow. Production designer worked with Fellini and Pasolini, costumer (who won the film’s only oscar) worked with Ruiz, Gilliam, Leone and Fellini, and the set decorator worked on RoboCop 3 and The Lathe of Heaven.
Glad to see macaws and peacocks. Noticed a Samuel Morse painting that I’ve seen at the High. Spent a whole scene staring at the actors’ clothes and the surrounding paintings, thinking about the color combinations. Distracting but very brief cameo by Scorsese as a wedding photographer. Playful transitions, irises, fades to color, rear projection and some super matte work.
The story, okay I might not have given it my full attention because of the colors and the irises, but fully modern man Daniel Day-Lewis is paired with innocent traditional girl Winona Ryder, but then he falls for fiery scandalous Michelle Pfeiffer instead. Eventually DDL is so widely suspected of having an affair with Pfeiffer that he may as well have – but never did. Lots of unspoken thoughts going on, DDL/Ryder’s marriage in the 20-years-later epilogue seems like the Crane Wife, like society would fly apart if they ever spoke what’s on their minds. All the actors very good – I thought Pfeiffer stood out, but the academy preferred Ryder. Great to see Geraldine Chaplin, looking good a decade after Love on the Ground, though she had very little to say or do. Richard Grant played as much of a villain as the film had, a sideways-smiling scandal-slinger, and Jonathan Pryce showed up towards the end as a Frenchman (dunno why, with all the opulence on display, Scorsese couldn’t afford an actual Frenchman).
Appropriate to watch this right after the Michael Powell movies, given Scorsese’s love for Powell’s films. I wouldn’t have guessed the fight scenes in Raging Bull were influenced by The Red Shoes ballet before I heard it in the DVD commentary. Also appropriate to watch this soon after Orlando and soon before The Piano, a sort of 1993 oscar-campaign review.