Tom & Viv

I hardly recognized Willem Dafoe in this biopic about T.S. Eliot and his mentally ill wife Vivian. His face was very long, thin, and gaunt; with every lean on his cane Dafoe managed to capture the weariness Eliot must have felt. Miranda Richardson plays his wife, his poetic inspiration, his chief critic; however she suffers from an illness given a ridiculously silly name and tries to kill herself often. Today she would have been put on prozac and given a spot on Ricki Lake. But since this was post WWI-era, we instead get to watch Viv wave a gun around and pour melted chocolate into a mailslot. The movie takes place for the most part in London, moving to America when Eliot takes a position at Harvard. The other characters, a priest, a family friend, and a few socialites, seemed cardboard and uninteresting. This is not a fast-moving film; at times the sound was terrible and the plot a little confusing. We're never really quite sure what is making Vivian nuts; but then, I guess that reflects real life. It made for a great rainy afternoon flick, especially for poetry lovers, art lovers, and biography lovers.

Michael Hasting' play of the same title, was seen in New York at the Public theater in 1986. Edward Herrmann and Kate Nelligan played the leading roles. In a way, Mr. Herrmann bore a resemblance to Tom, something that in the film, William Dafoe, an excellent actor, stands in sharp contrast with what the real Eliot looked like. Having seen both the play and the film before, we took another look recently when it was shown on cable.

Brian Gilbert, the director, showed a sensitivity to the material. He had the advantage of using locales where the real Tom and Viv lived in England, thus producing an immediacy and intimacy that serves the film well.

Tom, was a man that loved his adopted country. He was a man in awe of the culture and traditions. In fact, he adopted them as they were his own. His entry into that world in which he wanted to belong came to him courtesy of Vivienne Haigh-Wood, an upper class young woman who had her share of physical problems that plays greatly in this story. Viv's problems exacerbated her marital problems with Tom, and her family. Evidently, her condition could have been helped if the doctors that treated her would have gone in another direction, as it's pointed out toward the end of the film by a physician that clearly understood her malady.

The film is worth a look because of the excellent Miranda Richardson's portrayal of Viv, a woman she captures well for our benefit. This is one of the best appearances by Ms. Richardson on the screen. William Dafoe's Tom gives the impression of being a complicated man. Rosemary Harris is another joy in the film as Viv's mother Rose. Tim Dutton and Nickolas Grace have some good moments in the film.

"Tom and Viv" will not disappoint because Brian Gilbert's fine direction.

Another biography of a literature world's luminary from UK director Brian Gilbert (WILDE 1997), TOM & VIV is about the perturbed marriage between American poet T.S. Eliot (Dafoe), and his first wife Vivienne Haigh-Wood (Richardson), which lasts for 17 years from 1915 to 1932 (separated but never divorced).

It is a refined British period drama, in quaint but steadfast pace, a flamboyant Viv attracts the young poet, the passion speeds them up to elope, but Maurice (Dutton), Viv's younger brother, implicitly hints to Tom, there is something wrong with Viv, a physical ailment or something like that, but, it is rather too embarrassed to say it loud. If we are not familiar with their story, it is quite a challenge to conjecture what's the problem through the movie's oblique approach, Viv is shown to buy some highly contentious medicines in the pharmacy and Tom is clearly in a shock after their (first) lovemaking, and what we see is a blood-stained white bed sheet. They reconciles anyway, and Viv is fervently supportively to Tom's work, to him, she is a great helper and a significant influence.

But Viv suffers from frequent mood swings, due to her irregular menstruation (talking about a corporeal condition aggravates into a mental disorder), an irrevocable chasm is developing through time, when fame catches up with Tom but Viv's bouts of improprieties in the social activities greatly embarrass him. Their mutual effort of love and support is being put to test, and Tom finds solace in Catholic church and grows distant towards Viv, which puts her through the wringer of abandonment and isolation, she becomes a black sheep in her family and her behaviours grows ever more erratic and even dangerous, an institution becomes her only final home.

Never a daft gal, Viv has always been sharp-minded and opinionated, she is no Sloane Ranger either, born with a silver spoon but she makes no fuss to marry her impecunious husband and live with him in a small attic, but the incurable health problem distresses her, shames her and Tom is her sole hope and crutch, when he finally capitulates, Viv rationally opts for her own destiny. Miranda Richardson is meritoriously nominated for an Oscar for her incredible work, to interpret Viv's "moral insanity" with attention-absorbing flair and eccentric mannerism, unpredictable as a time-bomb which is ready to explode at any time, but also poignantly reflects her powerlessness out of her seemingly arbitrary spasms of hysteria.

Willem Dafoe is in his most restrained fashion to portray Tom with an intellectual's unfathomable nature, his soft-spoken delivery obscures the distinction between a tender mercy and a devoted lover, contrary to Viv, his suffering is latent, his final look is frosty and inaccessible, after we learn about Viv's situations, the stance of Gilbert and playwright Michael Hasting on this tragic relationship is fairly manifest. Rosemary Harris, also seizes an Oscar nomination for playing Viv's mother Rose, imbues a sedate facade of dignity from a genteel matron, apart from her immaculate enunciation, her gaze at Viv compellingly evinces affection and disappointment in unison.

At the end of the day, TOM & VIV doesn't disappoint (apart from the pungent whiff of the typical British self-esteem), Gilbert dissects a problematic relationship pickle with its unobtrusive scalpel, a slow-burner worthy the investment of your time, whether or not you are au fait with T.S. Eliot.

Unlike many biographical films this one doesn't alter things so much from the historical record. It doesn't make one person more sympathetic than they were in reality, and, as the ending shows, it reaches not a grand finale, but a whimper. (Apologies for the nod to Eliot's most famous line – which he found tiresome too)

This is a very sad story because the principals in real life were devoted to each other, but for a range of almost mysterious reasons to contemporary audiences, Vivienne's various maladies, mental and gynecological, are shrouded. Richardson carries this role well, and she almost owned the canon of disturbed women for a while in her career.

The stand out is Dafoe as Eliot. Dafoe has the solemn, dignified, presence; the accent of period Englishness of a certain class and his American accent suppressed in the voice but mingled nearly perfectly to sound like Eliot. In addition Eliot's life, especially during these turbulent chapters were smothered, and to see Dafoe incarnate Eliot gives life to a man who was often an abstracted mind.

This is a fine production in almost all respects although it may not have a wide appeal.

This film demonstrates how easily the state uses the psychiatric profession to unjustly incarcerate citizens, with full permission of family members, and eventually the victim themselves.

The scene of the "mind police" taking Viv (Miranda Richardson) out of a restaurant in broad daylight, and her struggle that ends with pushing her purse into the hands of a friend as she is brought into submission, is heart-wrenching.