Mademoiselle Julie

I'm not familiar with the source material, but the movie version of it, will not be everyones cup of tea. It feels like a drag and the pacing is slow to say the least. The characters seem to be stuck at a place where it'll be hard to feel something for them. Having said all that, the acting is superb and if you like your drama to be slow paced, but filled with dialog to make you think about, this could be exactly the one you were looking for.

It never did have the punch or the feeling that it could be something great to me, but that's always in the eye of the beholder and might feel different for people who know more about it (more familiar with source material) than myself. It also feels like it is way too long for its own good. While good, there are things that make this tough to watch ...

Adapted from a play, the film does have a very theater-like mood, portraying just three characters, besides a dog (well, and a yellow bird) and an unseen mob (and an unseen and unheard baron), with dialogues that not always fit naturally. The first 40 minutes portray an intriguing cruel game between the daughter of the owner of the estate and a servant, a game where passion, class, deeds, appearances, everything are interwined. However, although the film kept that very uncomfortable atmosphere, the duel became quite inconsistent, and consequently less engaging. Except for the nice lines of his fiancée, at 1h30, characters behave in too contradictory ways, which make no sense in my opinion even considering increasingly appearant madness of Miss Julie. Despite all those problems, I cannot help but mention that Jessica Chastain has a powerful performance in very different moments, in a broad range varying from femme fatale to lunatic.

I kept searching for a reason to care about these people and what they're going through. "It's a classic." "View it in the context of the time." Nothing. Nothing worked. A lot of the problem is how it was shot. At least on stage you can choose to watch the other character's reaction. But here, Ullmann keeps cutting to the person who is speaking, rarely cutting away. The repetitive style does not build tension, but monotony. Even great acting couldn't save it.

Jessica Chastain and Colin Farrell are superb. Although the critics seem to hate this movie, lauding it to be nothing like they imagined the play to be, nonetheless, having not ever seen the play or read it, I had nothing to base my preconceived ideas on. Therefore, this was something of a masterpiece. Incredible performances from the actors, painful, and actually a treatise to the hideous mores and codes of its times, despite being adapted by Liv Ullman, the over-riding theme is astonishing when you discover that the original play was written in 1888, and depicts the absurdities of human belief systems and caste systems. In this day and age, they would have had a rollick one night, said goodbye and avoided each other's eyes in the hallway whilst getting the heck on with their lives! A story of a very lonely, overly sensitive young woman who has no idea what life is about, and the sanctimonious serving maid who thinks that Jesus will save her, and how ultimately, a poor boy has a turmoil of stored hatred and vindictiveness toward the gentry, albeit rightly so, yet turns that into a crime that is inconceivable. An utterly brilliant work. Kudos to Liv Ullman. If you want action, no dialogue, and joy, this movie might not be for you. But if you want to take a good, long look at how evil the natural function of humanity is made by an unnatural society, this is a winner.

It's double-bill time, two movie adaptations of MISS JULIE, August Strinberg's play written in 1888, with 63 years apart. The 1951 version is made by Strinberg's fellow Swedish countryman, Alf Sjöberg. Shot in dashing Black and White, Sjöberg's film stars Anita Björk and Ulf Palme as the central pair, Miss Julie, the daughter of a Count (Henrikson) and her servant Jean, during the mid-summer night, they test the limit of seduction, passion and dignity between two incompatible classes, it shared the prestigious Grand Prize in Cannes with Vittorio De Sica's MIRACLE IN MILAN (1951).

Empowered by an impactful score from Dag Wirén, the film conjures up the pair's gender-and- class tug-of-war with a phantasmagoria of sequences narrating their dreams and past. The desire for falling versus an ambition of climbing from different starting tier concretes Julie and Jean as perfect specimens to explore their moral and emotional clashes. Outstanding cinematography creates amazing shots where flashback merges together with the present, imagination coexists with the reality. There is no win-win situation in the battle of sex, Miss Julie's paradoxical attempt to patronise her servant and at the same time to be sexually overtaken by him is a self-digging grave for her own undoing, and Jean's struggle between his sexual impulse and deep-rooted inferiority complex is the last nail on her coffin.

Anita Björk embodies a graceful mien of nobility emitting a whiff of recalcitrance that makes her portrayal of Miss Julie a distant, spoiled figure never truly reveals her true emotions, whereas Ulf Palme delicately betrays his insecurity and immaturity out of his pseudo-confidence and prince-charmant appearance. Among the supporting cast, Dorff's Kristin, the cook, takes a less prominent function than Morton in the 2014 film, and we also see a very young Max von Sydow giggling in his plain nature. Overall, this vintage oldie is a pleasant discovery, especially compared to the more lyrical but problematic latest version directed by the acting legend Liv Ullmann.

With a running time around 130 minutes (contrast with 89 minutes of Sjöberg's picture), but maximally axing the bit parts with three characters only (save the two-minutes opening sequence showing a young Julie rollicking in the forest), Miss Julie (Chastain), the butler John (Farrell) and Kathleen the cook (Morton), this austere version is set in Ireland, and is much more loyal to the text's original form with its take-no-prisoners' method to let the acting-trio wrangling in the turmoil with lengthy monologues and dialogues. It is a chancy choice, Ullmann invests a full trust in her cast, and is willing to take the risk of prolonging the takes to let the emotional repercussions permeate, even music is barely used as an immediate mood-mediator, only at times playing in the background with unobtrusive volume.

"The night is long and it is so tiring", the film becomes tedious as the same plot and twist blathering on and on; and "class is class", the invisible barrier strips them down to their inveterate bias and beliefs. However, the trio's whole-hearted devotion is the saving grace of Ullmann's labour-of-love. Morton, her Kathleen becomes a morally righteous yardstick to the scandalous affair, John is her beau, and Miss Julie is her mistress, her inward feeling is given a more detailed vent to show off, and Morton is always excellent to watch, modest in looks, but tremendously engaging. Farrell, portrays a quite different character from Palme, his John is more approachable to read, more pliable to manipulate, also more reprehensible to condemn for his cowardice, the explicit canary-murdering scene makes him more like a perpetrator than a foolish social-climber in the end.

Chastain stands at odds with Farrell and Morton's Irish accent, but her mercurial personae are wondrous to stare, this could be a tour-de-force if it was on stage, yet as a film, her labour (the same can to said to Farrell and Morton) cannot redeem the sluggish rhythm and a length overstays its welcome, in a sense, only true savant of stage play can luxuriate in it, for most people, the 1951 version is more superior.