Il cuoco, il ladro, sua moglie e l'amante

The cruel and sadistic crime boss Albert Spica (Michael Gambon) has dinner every night in his restaurant with his wife Georgina Spica (Helen Mirren) and his gang. Albert abuses of his wife, his gangsters, the chef Richard Borst (Richard Bohringer) and the restaurant employees.

When Georgina meets the gentle bookseller Michael (Alan Howard) in the restaurant, they have a torrid affair in the restroom and in the store, and they are covered by Richard. However the prostitute Pat discloses to Albert that he has been betrayed by Georgina and Albert kills Michael. However Georgina plots revenge against Albert with the support of Richard and the victims of Albert.

"The Cook the Thief His Wife & Her Lover" is one of the most grotesque, eschatological, bizarre and weird films that I have ever seen. But it is also absolutely original and mesmerizing, with intense use of colors, and with the contrast of vulgarity and art. Food, eschatology, sex, cruelty, torture, cannibalism and revenge are entwined along 124 minutes running time. The result is not pleasant and only specific audiences will appreciate this film. Last time I had seen this film was on 08 September 2000 on VHS. My vote is eight.

Title (Brazil): "O Cozinheiro, o Ladrão, Sua Mulher e o Amante" ("The Cook the Thief, His Wife and the Lover")

My introduction to Greenaway was `Prospero's Books,' which I rate very highly. I next saw `The Pillow Book,' which also was magic. I now delve into this earlier work, which is before Greenaway became master of overlayed windows. And also before he developed (at least in the two films mentioned) a clean sense of layering allegory.

In this early film the sense of allegory is simplistic, and the notion of narrative is largely abandoned. All in all, this is a cleaner film. Greenaway's fulcrum is the creation of a massive clockworks kitchen with dozens of concurrent, interrelated processes. Everything revolves around this, or more precisely the vision of this. Around this center, we see both vile and sublime forces acting on the kitchen, which is a sort of metalevel over the world from which creation emanates.

I suppose many will remember some of the more disturbing incidental images. Not me. I'll remember that extraordinary kitchen.

I saw this almost fifteen years ago and I still have crystal clear mental images of some of the scenes. The chef at his table in the kitchen, planning his menu: stunning! Put it in a frame, hang it on the wall. In the restaurant scenes, you feel like you're there at the table as the camera pans, without cuts, from one person to another. Our heroes locked in the truck full of rotting meat: horrible, disgusting, perfect. It's a classic purification ritual and it's literally putrid. Greenaway is a genius. My only criticism is a minor one. There is a full frontal nude scene of the wife and her lover, where he is clearly more "relaxed" than he should have been at that moment. I'm a bit disappointed in Greenaway for not showing him at "attention", as he would have been in real life. But then, I guess he would have been accused of making porn. Whatever. This film is not for everyone. My wife didn't see it. I'm sure she would have hated it if she had. For that matter, I can't actually say I liked it, although I consider it a masterwork. But I'm glad I saw it. I'll probably see it again, but not until I can see it on HDTV. Plain old DVD couldn't possibly do it justice. An amazing movie.

I sat transfixed by this film's ability to become increasingly depraved, always without any redeeming quality whatsoever. We would have left except that I became fascinated by the ability of the director and writer to hit bottom and then keep drilling. The story is familiar enough but there are no protagonists. There really are no antagonists either. Just a bunch of people you care nothing about doing things you don't want to know about. If a friend did this stuff to another human and wanted to tell you about it, you would scream for him/her to stop.

To top it off it has a score by Michael Nyman who had just enough talent to write one bad film score and retreads it for every film that a producer is stupid enough to hire him to score.

First of all, I have to say that this film is one of my personal favorites, and that it is one of those things one must see during his or her lifetime.

Truthfully, however, I first got into this film after hearing clips of the soundtrack on the Japanese version of Iron Chef, during a time before it was acquired by the Food Network. This film score, composed by the great post-minimalist Michael Nyman, is still one of the most haunting and soul-stirring scores in my opinion, if not the one of the most impressionable bodies of musical work ever. I still listen to the album on a weekly basis - it gets under your skin that way.

The film itself is a piece of total art, as others have said. The sets are saturated with their singular color schemes (blue for the restaurant's exterior, green for the kitchen, white for the restrooms, and red for the main dining hall) , and people who have any sort of artistic training have valued and will continue to value this film as a character study of color. In this present age where most films present their interpretations of visual thrill through costly CG and SFX technologies, this film is a testament to how color can be a driving influence behind effective set design and cinematography.

The principal actors, including the always amazing Helen Mirren and Michael Gambon, are first rate. Helen Mirren's Georgina is a truly heart-wrenching character, especially in the face of Gambon's portrayal of Albert Spica, a poor excuse for a human being and one of cinema's cruelest villains. The cook and lover are merely catalysts, serving to instigate the final act that is the undoing of Albert's overreaching tyranny.

I suppose the anti-Thatcher sentiment is highly applicable to this film, but since I am not a British citizen, I feel that I cannot comment on this. However, I think the film's allegory can also be applied to other scenarios where a brutish figure uses violence and exploitation as a way to control others whose primary fault is only residing in the same physical/social/legal domain as the brute.

In short, a masterpiece.