Tulip Fever

How could such a beautiful looking movie fall so flat? Sumptuous filming, a stellar cast, with brilliant period sets and costumes are not enough to disguise the fact that Tulip Fever (2017) drowns under the weight of its own plot contrivance and melodramatic performances.

Set in 17th Century Amsterdam, it tells the story of an orphan who "arrived barefoot and left in a carriage". Selected to marry for her great beauty, Sophia's (Alicia Vikander) sole purpose is to bear a child for wealthy merchant Cornelius (Christopher Waltz) whose first marriage was barren. Cornelius commissions struggling artist Jan (Dane DeHaan) to paint their portrait to celebrate his wealth and her beauty but the artist immediately falls under her spell. While the affair progresses, her maidservant Maria (Holliday Grainger) falls pregnant to a fishmonger and the two women concoct a subterfuge whereby Sophia pretends to be pregnant to keep Maria's secret. As a background sub-plot, Jan seeks his fortune in the over-heated tulip market by purchasing the rarest of tulip specimens from an imperious nun (Judi Dench). Melodrama turns into farce as the multiple narratives interweave, tighten, yet ultimately go nowhere.

High visual production values do not make up for story implausibility. The months of unsuccessful mating between Cornelius and Sophia is portrayed as a bawdy comedy of nightly rituals where Cornelius struggles to perform his marital duties. The affair under her husband's nose, the fake pregnancy, and fake birth are all ludicrously implausible. The background tale of wild speculations on the fickle tulip market is a distraction rather than necessary for Jan's predictable investment outcomes. The script sounds unnatural and dialogue is delivered unconvincingly: many lines are spoken across class boundaries in ways that would have been unimaginable in that era. With a top- shelf cast, the acting is flawless although Alicia Vikander stands out for the way she plays the same Alicia Vikander that we have seen in several films. The chemistry with both husband and lover is of the barely flickering variety, and her impersonation of Mona Lisa is, as always, impeccable.

Does the film's ending justify the effort? Disappointingly, no. The fate of all the characters is disconnected from the narrative flow and the storyline threads remain dangling in the wind. For some audiences, the beauty of this production will be worth the commitment. However, after an hour and forty-five minutes, all we learn is that great beauty, wealth, greed, and deception, do not bring happiness; nor do aesthetics alone make a great movie.

Countless reviewers will address this movie saying it was dismal and thin. They say the plots and subplots were disconnected and on loosely held together by a weak premise.

I thought the opposite. I chose to watch it anyway because of the cast. I'll admit none of them had a remarkable performance, award winning or otherwise. I think they were all fairly balanced without overselling any particular role. While the story centered around Sophia primarily, you could sense the desire, intrigue and frustration of the other characters. I went into it with no knowledge of the plot, tulipmania, or even the actual setting. About halfway through I began to get the feeling, "I see what going on here. This plots been done and redone." I thought I knew what to expect. At times I was right, but at others, grossly wrong. I thoroughly enjoyed this movie and would enjoy watching it again. The plot moves so quick at times I know I'll see more next time.

I've told you what I thought. Don't let anyone tell you what to think. Watch it and make up your own mind. I've seen far worse movies get higher praise.

I loved it...I really did. It is slow paced, what I absolutely like. The costumes where beautiful and detailed. Also the scenery was well done and gave an atmosphere of how it used to be.

Worth watching...not the best...but really enjoyed it!

A pretty good period piece set in an interesting location during an even more interesting time, could have been great, but overall it's still good enough.. Christoph Waltz walks on water as always!

A love story (actually two of them) play out amid the backdrop of the famous tulip mania of Amsterdam, ca 1634. Both love stories hinge on wild improbabilites that are almost laughable. The story is based on a novel so we can perhaps blame it on that. Regardless, the movie is vastly entertaining (but not in the so-bad-it's-good category. There is a lot to like.) As we are told Tulip trading was rampant and "fortunes were won and lost" all because of a "beautiful flower."

Sophia (Alicia Vikander) is an orphan under the care of a convent that specializes in providing care and education for such unfortunates. She is appropriated by a wealthy nobleman (Cornelius Sandvoort) in Amsterdan who wants to marry and sire an heir. Historical context---keep in mind that Henry was fairly recent history at this time---can make this a daunting task for a young lady but Cornelius turns out to be a saint, an anomaly for one so powerful in such times. He has a love for his young wife and by and by he hires a handsome young painter (Dane DeHann, who bears a rather strong resemblance to a young Leonardo DeCaprio) to paint a portrait of he and his wife. Uh oh.

Meanwhile Sophia's servant, Maria (Holliday Grainger) is carrying on with a fishmonger (James Dryden), who wants to marry her and due to his low station tries to strike it rich with tulips. Complications ensue whereby Sophia and Maria concoct a scheme which might be termed the Mission Impossible of 1634 that strains credulity but can be overlooked with effort. Alica Vikander, the main heroine, agrees to some clandestine sittings for her young painter and in the doing is mind-stopping beautiful. (Vermeer would have loved her. She would not need golden earrings). What happens besides sitting and painting in these sessions is easily surmised.

Judi Dench is the Mother Superior (or whatever her title might be) but not per the usual, she is capable of the nod and the wink and can speak quite plainly not to mention her business acumen. You see, the convent grows, buys, and sells tulips and they need a shrewd-y to handle all that ... Judi does just this with aplomb all the while maintaining at least an appearance of piety. (Although if I remember correctly she actually hits somebody over the head with something.)

Another character is old Amersterdam, or the depiction of it. Swarming denizens bustle about in droves along streets and waterfront fulfilling the need for historcal context (along with the tulips, of course).