Mrs. Harris

Despite two strong lead actors in Ben Kingsley and Annette Benning, Mrs Harris flops. The tone of the script is the problem. It should combust at the end after a slow, almost unbearable build-up of tension. The audience should FEEL Jean Harris' rage, frustration, and hopelessness. Instead, we're supposed to laugh. The script is written as farce, not drama. Good drama can contain cynical humour and pathos, as long as it's not dominated by either one. Then it's not drama. I'm sure Hollywood bigwigs said to the poor scriptwriter, "no one wants to watch a tragic love-story between two fiftyish neurotics, even if the broad murders the guy in the end." Of course, the producers would be too young to remember the case itself. So, they took the easy route and made the autumn romance a farce. They sporadically threw in some booty, and the murder as teasers to make the movie bearable to watch.

Yup, they missed the boat with this one.

My husband and I sat through 20 films this year and this one, along with Michael Haneke's "Cache," was by a long way the best and the most surprising we saw. You go to a gala at a film festival and you're prepared for mostly safe stuff chock full of movie stars, so many of them, like curios in cabinets ("Walk the Line" and "North Country" are two such examples; there are others), that you lapse into a deep sleep just looking at the credits, knowing the exercises in taste and decorum that will follow. I wasn't encouraged by the cast list of "Mrs. Harris" but was really interested in the whole Jean Harris story so along we went to the screening.

For those of you who are not familiar with the tale, this is the murder of the Scarsdale Diet doctor saga in 1980. Jean Harris was an uptight headmistress who, so the media spun it at the time, in a fit of jealous rage drove from Virginia to New York in a blinding rainstorm and pumped the doctor full of bullets because he wanted to marry another woman.

What seems like a pretty straightforward narrative turns out to be anything but that, principally because of the way the story is told in this version and the incredible performances, not just from Annette Bening, though I have never seen such subtlety from this actress but also from Ben Kingsley, Cloris Leachman, Frances Fisher, Mary McDonnell and a host of others in truly perfectly judged cameos.

The first-time writer and director of "Mrs. Harris" never judges the characters and thus wisely puts the responsibility for making any judgments solely in the laps of the audience. The tonal shifts in this film are dizzying but never confusing and perhaps the most brilliant thing about it is the way in which you're seduced into laughing at or with all the insanity and then immediately are shown something that makes you question why you laughed in the first place.

It's not an easy ride or the most comfortable of films to watch, but it's one of the finest depictions of obsession, dependency and love gone wrong I've seen in a long time. It's not for everyone. My husband, who also loved it, had a heated debate with another couple we saw it with who hated it and mostly hated it because of the way it refuses to score easy victim versus villain points. It's divisive and from time to time you wonder about certain shots or the juxtaposition of certain scenes but these are minor quibbles. This is a debut feature that outclasses most of what I've seen in multiplexes this whole year. Go if you want to think and feel as a result of that thinking.

I heard a rumor that the film is not going to be released in movie theaters but will air on HBO. That, if true, is a pity because it's something that should be seen and the performances, writing and direction are first rate.

If you look at this movie as humorous you'll soon see that it is a very dark comedy. It is sometimes sly and subtle, sometimes almost burlesque(the locker room scene) but always not taking itself too seriously. "We never fought except about the use of the subjunctive!" C'mon. I think Ben Kingsly always kept the comedy aspects of his character in mind and played it very broadly. This movie has what must be by far the most oddly matter-of-fact murder scene ever filmed. I think if you are old enough to remember when this was on the news it will enhance your appreciation of it. Watching people thought to be upper class brought low has been fodder for comedy since theater began.

For anyone who remembers the shooting of the Scarsdale Diet Doctor at the hands of the school mistress from Madeira, the fancy girl's school in Potomac, MD, this film is a soap opera scandal which should have been allowed to rest in yellowing newspaper clippings (though those are probably on line now in incorruptible digits). Annette Bening is Mrs. Harris, the abandoned and lovelorn teacher. Bening is a fine actress and while she succeeds in bringing her character to life, all that is accomplished is to demonstrate once again that Mrs. Harris was pathetic. Kingsley has much less to work with and all he is able to demonstrate is that Herman (Hy) Tarnower was an unmitigated son-of-a-bitch, which we already knew. Why did Ellen Burstyn and Cloris Leachman allow themselves to be roped into this? One assumes for the money, certainly not the art. Could this have been a better picture? Given the facts of the case, which are reproduced more or less as they were presented at the time, I would guess not. Neither of the principals has much of a back story to be unpacked and, while the details of the murder made headlines for days at the time, at the end of the day it's merely a sad, sordid, essentially uninvolving tale.

... Is among her best work: it is nuanced, studied and whip-smart. She has a flair for bone-dry humor that is on full display here.

HBO continues to show that it is the go-to network for actresses over a certain age, providing them with some bravura roles.

Jean Harris could have easily descended into caricature and vapidness, but Bening finds her heart.

When I first saw that the film was being made (it was first made for television with Ellen Burstyn as Jean in 1980), I thought "why again?" but the filmmakers have proved their case: the film works on every level, but especially the performances. They are compulsively watchable.

Her performance is expertly modulated and as the film unwinds she becomes very human: her crime is not such a surprise and her motives seem justified.

The actresses interplay with Kingsley is a wonder to behold.

If you are a fan of singular acting, this will be worth your while.

Mary McDonnell, Philip Baker Hall, Brett Butler, Frances Fisher, Cloris Leachman and the original Harris, Burstyn, all show up for great cameos.

This is not a film you will ever see in a theater, HBO has cornered the market on interesting, vital character studies.