White Mischief

Basic Instinct set in Kenya at the end of Art Deco era which also marks the beginning of WWII. That means, the costumes and sets are gorgeous. Bravo! Greta Scacchi is stunning and we get full frontal nudity from her and Charles Dance... and everybody else. Greta Scacchi looks like a proper Hollywood golden age movie star, just looking at her perfect nails and hairdo makes me forget about the trivialities such as the depth of the character, etc. Every frame is gorgeous and perfectly lit. And the decadence - the drug use, the orgies, the masturbation to a corpse in a morgue, that's all glorious to watch in this dull era of superhero films and sequels and dramas that boast 'strong' female characters. It only lacks more... well, nudity. I feel that the romance between the two main protagonists ends too quickly for us to give a damn. But maybe that would have turned it into a 'soapy' melodrama. Maybe we can't relate to the whole situations because the characters have very few or zero redeeming qualities and, after all, they are the idle rich - we are not, but still. The film has a TV feel to it, like one of those Agatha Christie adaptations, which I'm not sure is bad; I adore these films. British aristocracy stuck in their lavish mansions; that's been a part of the Gothic lore ever since the folk tales were invented, and I'm sure it's them who invented them. This film is very dreamy and at the same time scary. There's a sense of a curse, that all the characters have been cursed, especially in the last scene which is like a picnic with the dead.

A wild and wicked romp through the expatriate community around Nairobi, Kenya, during World War II. Greta Scacchi is radiant beyond mortal words as the femme fatale that upsets the not-so-delicate social, sexual, psychosexual balances of the "happy valley" crowd of faded British aristocrats and other late-era colonials. The steller cast, including Charles Dance in a terrific romantic lead, an over-the-top Sarah Miles, Joss Ackland in his best role, John Hurt, Trevor Howard, Geraldine Chaplin, even a young Hugh Grant, and so many others, is absolutely superb. Set against the spectacular backdrop of East Africa, this movie is a tale of love, lust, revenge, and destruction, and expertly captures the look and feel of the waning British colonial era in its dialogue, costumes, even music. An absolute treat!

Seldom has social rot been more beautifully photographed than here. It's 1940. Bombs are raining down on London, soldiers are dying across Europe, Hitler is on the rise, yet not a drop of alcohol is being spilled by the rich and idle colonialists of British east Africa. Time is spent drinking and gossiping, drinking and swapping mates, drinking and dancing, and drinking and cross-dressing. It's all really rather empty and boring, sort of a sub-Saharan "La Dolce Vita", summed up in the death-mask visage of the sumptuous Greta Scacchi. Once jealousy takes hold, it's fun to watch the emotions build and shake loose behind these perfectly mannered mannikins.

Based on an actual murder case, the movie is salvaged from cliché by the elegantly understated style of the film-makers, who know how to both seduce and make a subtle point. Two scenes stay with me. A black man-servant sets up targets for practicing colonialists and narrowly escapes being shot in the process. The episode passes quickly, but it's evident the elitist whites take no notice of what almost happened -- a whole little world captured in one fleeting event. The other is the deathless and x-rated line -- "Oh my God! Not another f...king beautiful day." -- uttered by the super-jaded Sarah Miles as she surveys yet one more splendorous sunrise from the veranda of one of the film's many lush mansions. For contrast, there is John Hurt's scruffy and enigmatic "Gilbert", reputedly the richest man in Kenya, and a fascinating study in laconic reserve. What exactly is going on behind that wide- eyed stare and silent tongue -- envy? disgust? It's probably best that we never know. Anyway, this is an all-around first rate production that qualifies for permanent cult status and promises to remain with you long after the final scene has faded from view.

Why did I rent this movie? Because my friend Paul said it best shows off the "charms" of Greta Scacchi, who was in her late 20s when the filming was done. She truly is a stunningly beautiful woman, and the makeup and lighting are just perfect for her. Bare above the waist, in the sea, she is also striking.

Anyway, Scacchi plays the very young wife of an older, rich man, and they have traveled to Kenya where a lot of rich Brits hung out around 1940, trying to put world strife out of their minds. She flirts a lot, has an affair with a young playboy, and her husband doesn't take it well. Eventually the lover is found shot to death in his car.

You don't have a lot of latitude when making a film based on fact, however it implies that the most likely shooter was the old husband. The case never was solved. I enjoyed this film because of its faithfulness to the period, the beautiful Greta Scacchi, and a pretty interesting story. I rate it "7" of 10.

Was well into the film before I realized it was based on the factual story of a famous murder case. I was transported and still feel that way every time I get a chance to enjoy it again. I forgot who the actors were-they became the characters. That's how you know a film is splendid. I love the restraint of a fine British actor. No words are wasted. A glance tells it all. Everyone in the cast should be knighted by the Queen! I'll drop her Majesty a line right away. Chloe