Un marito ideale

If I weren't so lazy, I would have checked the original play to see if my favorite line from the movie was in it:

Goring's father: I use nothing but my common sense. Goring: So my mother tells me.

Even if was concocted for the film, that line still contains the essence of Wilde and the essence of all modern British humor, for which, I should say, I'm a major sucker. While watching An Ideal Husband, I didn't object to the lack of suspense as long as Rupert Everett was working his way around those Wilde lines, which he does as well as anyone I've ever heard.

I used to think Stephen Fry was Wilde on earth, but Fry is something wonderfully different -- Everett is Wilde on earth, or at least the actor that Wilde should have had around to deliver those lines when he wrote them. I first saw Everett in The Madness of King George, for which he put on weight. Every review of that film mentioned this; I thought the attention excessive, but when I saw him lying shirtless in a sauna, I understood. The man is, shall we say, cut. I can only imagine the effect of that scene on straight women or gay men -- probably something akin to the effect Greta Scacchi's "I think we're alone now" smile at the end of The Coca-Cola Kid has on me.

An Ideal Husband is full of good performances, with one glaring exception: the usually great Julianne Moore. Her scenes are curiously leaden, and Parker -- whose fault this may be -- has the camera linger over her as though the exposure will convince us how evil she is. The one exception is her scene with Everett, which has a real "Will he sleep with the enemy?" tension. It may be that Moore was just outclassed by the Brits, who are born to this stuff.

Cate Blanchett, whom I've seen in three movies, two of which were British period pieces, continues to amaze me with her range.

The unsung hero of the movie is Jeremy Northam, who takes a thankless role -- the man in the play who isn't the Oscar Wilde figure -- and makes it emotionally compelling. He is responsible for the play's only real suspense and emotion, since the rest is word games, more or less.

All of which leads me to blame the production's shortcomings on its writer/director, Oliver Parker. He seems to have squandered an outstanding cast. The play's final scene is played as a series of French scenes -- a film term for a series of different scenes in the same location -- and this kills any momentum that scene might have had.

Three out of four stars, I say, which makes it better than 90% of the movies out there.

One of good adaptations. For performances - Rupert Everett as the inspired choice for each "translation" of Oscar Wilde universe - but, in same measure, for a sort of freshness of a case of inspired use of the nuances of Wilde humor. A film about a man and his secrets and the prices of confidence. Seductive. And simple. And, maybe, lovely.

As I left this movie, someone said "How nice to see an intelligent movie!"

The risk going in was that it would be ONLY an intelligent - or at least clever - piece, all period manners and costumes. In fact, with all the Oscar Wilde wit which sounds wonderfully fresh here, there are also rich moments of emotional depth throughout this amusing but also quite moving film.

One theme here - touching in hindsight - is how little it can take to destroy a reputation - Wilde was later to have some of the most painful possible firsthand experience of this. But the central question here, which anchors the humor and beauty that decorate it, is the cost of rigorous, even rigid, honesty. And the growth of the central characters on this point shines through, even through the dance of wit and farce.

Underpinning this is a surprising faith in human nobility, quite in contrast to the ironic persona Wilde maintained. It struck me while watching it both that Wilde had very French characteristics - a continental finesse, the love of repartee - and yet was profoundly an English writer by virtue of his faith in fair play and the bonds of (platonic) male friendship.

In fact, Lord Goring, whose world-weary ways make him something of a surrogate for Wilde, is a distant cousin to Sidney Carton in coming to the defense of a 'nobler' friend even at great (possible) sacrifice to himself. His very lack of seriousness is what makes his efforts on behalf of his friends so moving.

With this, the pure visual beauty of actors like Cate Blanchett and Rupert Everett, matched by sumptuous costumes and sets, adds a sensuous element which, in a lesser film, might have dominated the movie. They, with Minnie Driver in cheeky comic form and Julianne Moore sweetly evil and superbly English, make it a delight both to watch and to savor later as tart food for thought.

To say that this film is a filmmaking tour de force would be a great injustice. It is far better than that. Oliver Parker's revitalizing of Oscar Wilde's classic play is filmmaking at its finest.

Every element of this film is superlative. Wilde's story as adapted to the screen by Parker is witty, intelligent and engaging from start to finish. Seldom can you find a story that attempts to be a romantic comedy, a tale of duplicity blackmail and betrayal, and a drama of political intrigue, and succeeds so well on all counts.

The intricate weave of deception, manipulation and double entendre along with comic misperception, irony and rapier witted dialogue are delicious and classic Wilde. This is a film you will want to see again and again, just to discover all the lines within the lines.

I cannot say enough about the brilliance of Oliver Parker's direction in this film. He has captured late 19th Century aristocratic England with vivid and rich images that put the viewer right into the period. David Johnson's cinematography is fantastic, with every scene working well as to lighting and color. The beautiful blend of colors in the costumes and the set always looked like they belonged together. Parker also provides numerous interesting camera angles that help dramatize the scenes. It serves to remind us that glorious films can still be made relying on the creative eye of the director rather than special effects.

The acting was delightful. Rupert Everett, as the self absorbed Lord Arthur Goring, delivers an exquisite performance as the unscrupulous rogue upon whom the mantle of truth and honor is laid.

Julianne Moore was delightful as the evil and cunning Mrs. Cheveley. As cold, manipulative and heartless as she is with Chiltern and Lady Chiltern, she is that vulnerable and helpless with Lord Goring, for whom she has long held a flame. Moore handles this emotional juggling act with great skill and you find yourself simultaneously loving her ingeniousness and hating her treachery.

Cate Blanchett turns in another wonderful performance as the oh-so-perfect, Lady Gertrud Chiltern. Jeremy Northam is also excellent as Robert Chiltern, the man of untouchable character with a scandalous secret in his past. Even Minnie Driver is charming as Robert's sister.

This is a terrific film for the refined viewer who appreciates all aspects of filmmaking. Even for those not into the art of filmmaking, it is simply great entertainment. I can think of no negative criticism of it. It is well written, directed, photographed and acted. It is filmmaking the way it was meant to be. A perfect 10.

Gertrude (Cate Blanchett) is an English aristocrat in the Edwardian era. She is very much in love with her husband, Robert (Jeremy Northam), a rising star in the British Parliament. Yet, an old schoolmate of Gertrude's, the conniving Laura (Julianne Moore) arrives back in town with a mission. She knows a secret about Robert that would bring about his ruin and decides to pressure him to support a government bill that would invest heavily in a Argentine adventure, one she has staked her money on as well. What can Robert do? He turns to a close friend, Lord Arthur (Rupert Everett) for help. Arthur, a rich and witty bachelor, offers what support he can. But, with women chasing him around every corner, including Robert's sister, Mabel (Minnie Driver), can Arthur devote the time required to saving his friend? And, will Gertrude have to be told about the blackmailing, causing her to lose some faith in the husband she thinks is "ideal"? This film, based on a play by Oscar Wilde, is a sophisticated and charming movie of the highest order. As such, it is replete with clever and mirthful lines, lovely costumes, beautiful sets, and memorable characters. As the principal actors, Blanchett, Northam, Everett, Driver, and Moore are excellence itself, laying doubt that anyone else could have filled their roles in a better manner. Yes, it is a dialogue-driven film but it is never stuffy or boring. If you have enjoyed such movies as Emma or A Merry War, this one is an ideal choice for your next film engagement. But, even if you are channel surfing and stumble across the flick on some lonely night, you will be drawn to its universal humor and humanity.