L'ultima danza di Salomè

Author/poet/playwright Oscar Wilde is widely renowned for his observation that "Life imitates art" (or, more precisely, as the full quote maintains, that "Life imitates art far more often than art imitates life"). But is that statement indeed true? In many ways, it seems that both propositions are just about equally valid these days. And that's a pervasive theme - from both perspectives - that runs through the latest feature from writer-director Atom Egoyan. The film tells the story of a theatrical director (Amanda Seyfried) who takes on the challenge of mounting a new production of the Richard Strauss opera Salome (a work ironically based on an Oscar Wilde play of the same name), a revival based on a previous version staged by her former mentor and now-deceased unrequited love. The opera, in turn, serves up a musical interpretation of the Biblical tale of prophet John the Baptist (Michael Kupfer-Radecky) and Judean Princess Salome (Ambur Braid), perhaps best known for her erotically charged "Dance of the Seven Veils" and who asks her stepfather, King Herod (Michael Schade), to present her with the holy man's head on a silver platter when he spurns her romantic advances. Ironically, the director's personal story uncannily parallels that of the operatic subject matter she's now in the process of staging, presenting her, as well as many other members of her cast and production team, with an opportunity to examine themselves, their circumstances and the ghosts of their long-ignored pasts. In a sense, this scenario thus provides all concerned with a chance to work through their respective long-unresolved (and often-interrelated) issues, a de facto form of art therapy not unlike that explored in films like "Black Swan" (2010). Unfortunately, the narrative is overloaded with story threads and at times becomes a little too intricate and cumbersome for its own good. What's more, after a while, the myriad connections linking these various subplots start to seem a tad convenient and contrived to be believable, regardless of how interesting they may each be in and of themselves. This tends to bog down the flow of the picture, which is unfortunate in light of the film's promising premise, intriguing production design, and fine performances by its ensemble cast, particularly Seyfried and Rebecca Liddiard as the production's property master. In all truthfulness, none of this is meant to suggest that this is an awful film; indeed, "Seven Veils" genuinely borders on being a truly engaging, memorable, well-crafted work. However, with so much going on, it tries to cover too much ground, which, if it had been judiciously pared down, could have made for an outstanding release. As it stands now, though, this is a case of an ambitious filmmaker not quite knowing when to quit trying so hard and not realizing that sometimes there's no need to go overboard in trying to impress viewers.

Telling an incredible story that merges beautiful scenes and a rich musical score through what appears to be a typically Egoyan disjointed narrative.

Egoyan's genius is his capacity to depict the brutality of human experiences with tenderness and compassion.

This movie is at par with the best of Hollywood and better still because of its intelligence and the timeliness of its message.

Amanda Steyfried's starring role as Jeanine is absolutely perfect along with a first class cast that will be sure to leave audiences satisfied.

Got to enjoy this movie before its public release and it was truly a treat.

It's an opera-based (Salomé) drama set in Toronto in 2023. Jeanine (Elizabeth Reeve/Amanda Seyfried) is usually a play director who has agreed to remount "Salomé" at the request of her deceased mentor's wife, Beatrice (Lanette Ware). Jeanine has just separated from her husband, Paul (Mark O'Brien), who has remained at home with their daughter Lizzie (Maya Misaljevic), and Jeanine's widowed mother, Margot (Lynne Griffin), who has dementia. Margot's caregiver, Dimitra (Maia Jae Bastidas), also plays a role.

"Seven Veils" portrays Jeanine's efforts to mount the opera against her personal history reflected in the earlier 1996 "Salomé" directed by her mentor, Charles, that utilized her difficult family experiences shown in home movie-style flashbacks. Jeanine juggles Internet connections with her family and her efforts to shape the "Salomé" production in personal ways. Her direction involves complex relationships with the leads of John the Baptist (Michael Kupfer-Radecky) and Salomé (Ambur Braid), their understudies (Douglas Smith and Vinessa Antoine), and the props manager, Clea (Rebecca Liddiard). Sometimes, Jeanine's decisions mystify others, and other tensions within the company increase the drama. The film ends with opening night.

One reviewer calls Atom Egoyan a visual director. That fits "Seven Veils," as the images overwhelm a complex story a mile wide and a couple of inches deep. Jeanine's character is the only one with depth; a little more focus would have helped the story's coherence. Egoyan's concept is clever, but the execution falls short. "Seven Veils" is an interesting watch, but it's not certain what we've learned in the end.

There is an enthralling and haunting Hawthorne story where a father, a prominent avant garde physician, is fiercely protective of his daughter. As a child he gradually introduces her to a deadly poisonous plant. By the time she matures anyone who gets too close to her will suffer and die. The poison of the plant is infused in her life blood. The woman is beautiful, and terrible. "Don't you love," he asks "that no one can bring you down?" Her reply cuts to the bone. "Father, I would have preferred to love someone."

Jeanine is a theater director trying, like the woman in the Hawthorne story, to break free from the shadow of heartless people. Suffering abuse from her father, mentor, husband, and now an arrogant actor, - abuse that they call "love" - Jeanine attempts to heal and go beyond them without losing what is essential and good about herself. She struggles to break free from the traps set for her. To find something different.

"Take away one sense and others are heightened."

I love Egoyan films for their depth, surprising twists, and explorations of intriguing themes (passion, wrongful judgments, abuse, attempts to find a way forward after wrongs are done, love, perspectives different from my own, and more). In following a woman adrift after abuse, Seven Veils continues in the typical Egoyan veins. It is set in the Canadian Opera Company building a few blocks away from where I watched the film's world premiere at the Toronto International Film Festival. While Egoyan spent too much time inside the theater for my taste, I understand why it was done. Egoyan directed the opera company's real life production of Salome and molded much of it into Seven Veils. Even some of the actors in the actual opera are also in the film.

Jeanine is skillfully brought to life by Amanda Seyfried. Off topic - why did Seyfried have surgery? Not that she looks bad now, but she looks so much better in Egoyan's previous film, Chloe. (long sigh)

As I think about Seven Veils I like it more. Moving beyond the trauma of abuse is a fascinating subject. Someone who said they loved me hurt me very much. It is a struggle sometimes to see that I am worthy of love. In Jeanine's battles I see my own.

The most impressive single thing about this Atom Egoyan film must be the setting, which draws heavily from the recent, real-life Canadian Opera Company production of Richard Strauss's opera 'Salome'. Even a few of the genuine singers are used in supportive roles. The plotline that is embedded within that atmosphere is, however, a fairly conventional one: the young stage director (Amanda Seyfried) must face two big ghosts from her past who are (a) her father and (b) her mentor, himself a legendary director. We;ve seen variations on that many times before. Other things getting in her way -- which would be enough of a challenge by themselves -- are the personal issues and problems of the lead singers and management who want to skew the production their own way. It's well enough done, and it's certainlyl visually impressive. I didn't think however that this role suited Seyfried too well; I though she should convey a more commanding, certain presence, because her character was supposed to be an experienced director already. (Comparison for contrast: Cate Blanchett, the imperious orchestra conductor in Tar (2022)). But there it is -- Egoyan has a strong personal style, and you get what you get.