Breakfast on Pluto

While this is not a completely conventional film either in structure or storytelling, it is deeply committed to telling the story of Kitten. Just as the film is committed, so is Cillian Murphy committed to being the best Kitten he can, and he succeeds to an almost uncomfortable point, which I think is part of the storytellers goal.

Who does not want to be loved? Not many of us, and Kitten wants it more than most. Her journey to find love in whatever form it may take is both touching and harrowing at times. You cringe when she finds her self in certain situations, and you root for her to take charge of her life, but that is something she is quite unable to do for the most part of her journey.

While this story features the good, the bad and the ugly of the transvestite lifestyle, there is no judgment being made, it is presented as a simple fact of Kitten's life from nearly the first time you see her. That in itself is refreshing. There are stereotypes, but not presented in stereotypical situation, which is also refreshing.

I came away from this movie with a warm feeling in my heart for the character, the story, and the commitment of everyone involved in the film, it drew me in, it took me to places I did not expect, and it gave me a film experience you simply can not find every day in our cookie cutter Hollywood film world these days. My hat is off to all of you involved in the film. If you like something different, something unexpected, and something unusual made with a lot of love, this is the film for you.

This spellbinding, tightly written, tightly wound, full speed ahead film is Neil Jordan's best work by far since his 1992 hit, "The Crying Game." And, interestingly, in this new film, Jordan returns to exactly the same intertwined themes that marked "Crying Game": the armed struggle of Northern Irish Catholics against the British Crown and gender bending.

Unlike the last minute revelations in "Crying Game," however, here the protagonist's transsexuality is placed front and center from the getgo. Cillian Murphy gives a bravura performance as Patrick "Kitten" Braden, in a story set in the 60s and 70s. Murphy oozes sensual vitality and is a world class flirt, but he's also genuinely kind and compassionate toward everybody.

The story is divided into 35 brief, fast paced "chapters" following Kitten's life over several years, first in a village near Belfast, later in London. The musical score, which is extraordinarily good, is an eclectic mix of everything from 40s pop tunes to Harry Nilsson and Van Morrison. Good supporting turns are provided by Liam Neeson, Ruth Negga, Stephen Rea, Gavin Friday and Brendan Gleeson. My top rated narrative drama of 2005: grade 10/10 A.

I saw BOP in Toronto last week and it was one of my favorites (of the 29 I saw). Cillian Murphy was fabulous as the brave and relentless seeker of the truth who faced life with conviction even when everything around him seemed to be disintegrating. Liam Neeson as the town priest was credible and at times heartbreakingly genuine in his reactions to unfolding situations. Stephen Rea was an unorthodox but sweet magician who brought a great deal to his small part. The supporting cast, especially Brendan Gleeson and Ruth Negga, acted with realism and intensity that helped bring the film to life. Neil Jordan, whose track record stands on its own, delivered a delicious dim sum that left me wanting more and at the same time completely sated. Declan Quinn's dulcet cinematography, much like that of Monsoon Wedding and Vanity Fair, made the film one of the most lustrous at Toronto. After getting the willies watching how evil Murphy can be it was great to see him as an uber-hero. Oh, and did I say I want some of those outfits?

Cillian Murphy is superb as an alien of sorts finding its way in our midst. Giving the other cheek as if it was nothing. The goodness, Cillian Murphy, finds in his character goes - I'm sure - far beyond what the screenplay may have required. The goodness of his character feels private. A personal discovery. I hope I'm not making the character sound sentimental, because he/she's not, far from it and that is one of the many surprises to be enjoyed in a film full of surprises. Neil Jordan had already confronted sexual identity in the brilliant "The Crying Game" he, as far as I'm concerned, goes even further in "Breakfast On Pluto". There is no confusion here, everything is blatantly true. Moving beyond words. A mesmerizing piece of acting and film making of the purest kind. Don't miss it.

I saw this on 10/2 at the NYFF-we got last minute tickets right up front. Neil Jordan was present at Q&A-an absolute treat. The film was simply wonderful from beginning to end--charming, emotionally satisfying, delicately nuanced and very powerful. The acting was sublime, as in all Jordan films. Cillian Murphy is so impossibly gorgeous and yet so fearless and skillful an actor, who uses his physicality to his supreme advantage. The Irish gang of three-Gleeson, Neeson and Rea, who usually appear in Jordan's films, were superb and touching as usual. There were wonderful casting touches--Bryan Ferry as a sicko, Gaivn Friday as a gay rockabilly, etc. The film was audacious, swerving mightily between broad comedy and grim tragedy. The most arresting elements were the amazing customes and the choice of 60s and 70s songs, something Jordan discussed in detail during the Q&A.

I urge all cineastes to catch this one-you will be amazed and deeply satisfied.