The Libertine - Sex, Drugs & Rococo

'The Libertine' is a dark period drama that reminds one of Shakespearean tragedies. It can be watched as a wonderful character study as it takes a look at the Second Earl of Rochester during the Restoration period. He's a poet, a playwright and a tormented soul. He's a talented man but he's someone that dislikes life and his actions push 'cultural boundaries' that earn him more hatred from surrounding folks. We see in the initial stages of the film that he appears to be alright with being hated by so many but one thing, or person, changes it all...but perhaps it's too late for him.

Director Dunmore does a very impressive job of capturing the atmosphere of the time. The foggy melancholy, the brown poverty and the graying rot are some gloomy effects that finely contribute to this tragic piece. The costumes, lighting and set designs add to the gloominess. Though 'The Libertine' is a tragedy, it's filled with dark witty humour. The Earl's desire to have a painting with a monkey, the first scene at the bar and some of scenes between The Earl and Alcock are examples of such. However, Dunmore neglects many crucial parts of Wilmot's life which could have made the film and the character more interesting e.g. how much he loved his children and country, his relationship with his wife was very much a loving one etc...there are lots of historical inaccuracies.

Depp is both sublime and enigmatic and he brings the subtle humour and his character's torment, ambivalence and weakness with élan. One wonders why this performance didn't get as much recognition for in my humble opinion it's one of his best among the so many variety of wonderful characters he's articulately played. Samantha Morton indeed has a strong presence and of course delivers a fabulous performance. John Malkovich is adequate. It was great to see Richard Coyle and Jack Davenport in comedic roles that are upside downs of the characters they play in the famous sitcom 'Coupling'. Coyle is particularly effective as the Earl's loyal servant. Kelly Reilly does well in a small role and Rosamund Pike deserves special mention for giving her best performance and having a remarkable presence within an admirable cast.

'The Libertine' beautifully starts with a haunting monologue and ends with a sad one. It is a phenomenal study of a complex man, a man who rejected what he received but never got what he wanted. A superb film.

I was a little unsure about renting this movie at first, simply because it did not seem like the typical adventurous, fun-filled and slightly over-the-top Johnny Depp movie. I did eventually rent it and did not regret it one bit. "The Libertine" is a masterfully arranged movie that manages to capture the dirty, grimy feel intended to be associated with Rochester, the people he knows, and the places he frequents. The movie relies heavily on the characters and hence on the actors, who do a magnificent job of keeping the story on its feet. Each actors was greatly convincing in his/her role, giving each character a very 'real' feel and enhancing the movie's impact. Lighting and sets, while not particularly pretty to the eye, are fitting in every way. All in all, this movie was a great success and has managed to penetrate (no pun intended) the barrier between entertaining and interesting.

The Libertine is definitely not for the faint-hearted or those who are easily offended. For those who love great production values, storytelling and acting, The Libertine will be a treat. It may not be a personal favourite as of yet but I for one found it an exceptionally good film and think it doesn't get enough recognition.

It is a very meticulous-looking film, the photography is wonderfully moody yet sumptuous, the film has a very telling atmosphere and it really feels like you're transported back into the 17th century looking at the costumes and sets. Michael Nyman's score is understated and haunting, fitting beautifully with the atmosphere, though to me it could have used more music from the period which would have given off even more authenticity. The script is funny, thoughtful and packs emotional punch while the story while occasionally dragging is told rivetingly with scenes like the chair scene between Wilmot and Elizabeth, Wilmot's address to parliament and the final scene really lifted by the quality and the acting. Laurence Dunmore directs most admirably, remarkably good for a debut, inexperience occasionally shows but a vast majority of the time it's incredibly well done.

Characters are compelling, especially Wilmot who is very multi-layered, but if there was one thing that was truly exceptional about The Libertine it was the acting. Johnny Depp gives a powerhouse and multi-layered performance that ranks among his best. The dependable Samantha Morton marvels too, John Malkovich does stately and ambiguous in a suitably restrained and regal way while still maintaining interest and Rosamund Pike gives the most heartfelt performance I've ever seen her give(coming from someone who has liked a lot of what she's done), particularly a revelation in the chair scene. The chemistry throughout convinces though that between Depp and Pike came over personally as stronger than that between him and Morton.

All in all, a fine film if not for everybody and really deserves much more praise than it gets. 9/10 Bethany Cox

What images are conjured up by the title! Especially when we know in advance the lead is to be played by the handsome Johnny Depp. Perhaps a likable rake, a dissolute, even fashionable but very colourful icon of male supremacy - to be forgiven by female fans if they can watch from the safety of a cinema seat!

The reality is a disturbingly different film, dark and sombre, a 17th century candle-lit England, a portrait of the poet and debauchee John Wilmot, and one that ultimately bows out to a feminist heroine in the form of the great actress Elizabeth Barry (played by Samantha Morton).

In an opening prologue, Wilmot tells the audience that they will not like him. With the gusto characteristic of Depp, he throws himself into his melodramatic character in a way that is markedly different from his many half-serious, half-comic roles. As if to win his wager, he is out to repulse us - but not just with licentious excess: the tragedy of Wilmot is that he possesses genius but is unable to use it to furnish his own fulfilment. He is a tragic character, no Don Juan that follows a promiscuous lifestyle as a summum bonum, but a man of inner greatness for whom the outer world is so boring that he loses himself in drink and sexual excess and eventually alienates those around him. "I have to speak my mind," he says, "for it is always more interesting than what is going on around me."

As the 2nd Earl of Rochester, Wilmot is in and out of favour at the court of Charles II (John Malkovitch) and frequently upsets his lovely wife (Rosamund Pike) with his whoring and drinking. But his wife's jealousy is eventually piqued not so much by the loose women or the ale-house, but by Wilmot's love of the theatre - especially in the form of prostitute-destined-for-greatness, Elizabeth Barry. At a time before the emancipation of women, when the stage had recently been the sole province of men, Barry is determined to make it as an actress. She is hobbled by inexperience and a lowly position, but Wilmot takes her under his patronage and tutelage. Wary of the deal, Barry resists, saying she wants to rise by her own efforts - not so Wilmot can take the credit! He asks her what drives her, and her response, her passion for theatre, the desire to thrill and move an audience, is one that Wilmot identifies with, for he is tired of the lukewarm pastiches that trivialise even great writing.

Unfortunately for Wilmot, his own greatness is on the ebb. It was said of him that he was, "A man whom the muses were fond to inspire, but ashamed to avow." His taunting of the king and a scurrilous lampoon of Charles II in front of the French ambassador help to seal his fate.

Samantha Morton continues to show her acting talents with a substantial (if not substantial enough) part and Malkovitch is an adequate counterbalance to the very considerable stage presence of Depp. The screenplay (based on an earlier play starring Malkovitch) sparkles with wit and, even if the direction is a little uneven or turgid at times, it is an admirable and important debut from Laurence Dunmore. The desaturated colours and muddy, rain-sodden English countryside create an air of foreboding entirely appropriate for a work that is more serious than its title suggests.

Intellectually, we are treated to the drollness and intelligence of Wilmot but realise that he is a 'locked-in' and isolated character, a loner and barely appreciated trailblazer (in some respects like the great Marlon Brando to whose memory, among others, the film is dedicated). We also see the folly and weakness of his philosophy.

Wilmot wrote:

"Consider real Honour then, You'll find hers cannot be the same; 'Tis noble confidence in men, In women, mean, mistrustful shame."

Yet it was the honour of the lowly Elizabeth Barry that ultimately inspired him and, somehow, remained ever out of reach.

The Libertine was a brilliant period piece. It was a tragically realistic yet witty and humorous look at the Restoration period in England, but more specifically depicted the latter stages of the life of the Second Earl Of Rochester, a poet, who endured a short and debauched life. Here was a man so highly intelligent, yet so bored with life that he thrived by consistently pushing his limits and the boundaries of his relationships.

Johnny Depp eloquently and emotionally portrayed the Earl of Wilmot. This has to be by far his most brilliant achievement in a long line of unique and amazing performances. Mr. Depp's portrayal of the Earl showed a range of emotions, incredible nuances and a depth of empathy never before seen on screen, best illustrated during the scene where The Earl addresses parliament - which has to be the most gut wrenching scene, rife with fervor but with credibility. Suffice it to say by the end of this movie I had been reduced to tears and cheers, both at times coinciding. This is definitely an Oscar worthy performance. The golden statue is a must.

The supporting cast was also excellent; most notably, the actor who played the Earl's servant, and who appeared to have a great rapport with Mr. Depp, on screen. Samantha Morton, also superb as Mrs. Barry, gave a lovely and unobtrusive performance as was required for this character.

Laurence Dunmore captured the atmosphere of the period exquisitely with simplicity yet with a keen eye to detail. The reproduction of the 'family' Portrait of the Earl with the monkey is an excellent example. The lighting, the sets, the costumes all added to the reality of the movie. The musical score by Michael Nyman beautifully augmented the spirit of the times and of this production.

The Libertine was a work in progress when I viewed it twice at the Toronto Film Fest. I cannot imagine a scene being cut; even the more risqué dreams are required to impart the true emotional state of the Earl at that time in his life. Before passing judgment on this film I suggest that one see it at least twice so as to appreciate the full impact of the movie – to fully identify with the meaning and the thought behind this production.

The Libertine is a wonderful piece of art, representing the true raison d'être of this poet with incredible wit and insight. Congratulations to all who graced the production of the Libertine.