Possessão

I liked this film; and had no concerns whatsoever about watching it, despite the relatively low financial return, which I don't understand and also, the relatively mediocre percentage on Rotten Tomatoes, which I also don't comprehend - the latter of which I generally check before watching a movie, the former to see whether it's an indie or not.

I guess that this genre is not for everyone; to me it's a Jane Austen with added intrigue or a sophisticated Dan Brown with less intrigue.

There is lots of innuendo and suggestion, which unfortunately is generally bluntly explained shortly thereafter; it would possibly have been more interesting to keep it more mysterious and therefore make the viewer think longer than a few seconds.

I enjoyed it overall and would recommend it to those of a literary bent, it's not a popcorn flick.

The ending made up for any flaws this movie had. It made me smile as a viewer. Overall it's a good movie. This is a fine cast. The chemistry between Northam and Ehle was magnificent to say the least. You wanted the movie to just remain with them. Eckhart and Paltrow are fine in their roles. Eckhart is effective in his role although I do understand some people's ire that his character was made into an American. If the intent was to convey that he was an outsider who goes against convention and dares to think of things differently, then I think he was still effective and convincing. Presenting him a foreigner would only reinforce this intention. Paltrow is not bad in her role but I think this is where there is an argument that an actual British actress would have been more effective (i.e. someone like Kate Beckinsale, Rachel Weisz, Catherine Keener, or Emily Mortimer who all have the distinction of having attended prestigious British universities like Oxford and Cambridge) in making the character more complex so we could truly understand the psychology of an ice cold British, female academic. Besides having a British accent which Paltrow seems to do well, the part required an understanding of the woman's psyche that I'm not sure I fully understood. Despite being an American from Texas, Renee Zellweger did this well in Bridget Jones' Diary, although her accent was a bit posh for the character. This is my only criticism of a movie that was still good overall.

This is one of those movies that belongs in a special category: Films Worth Watching for Exactly One or Two Scenes.

Really, it's crazy. Other than these two scenes, the movie is mediocre, with Gwyneth Paltrow's great beauty the best thing about it.

But these two scenes! It's as if they are from another movie entirely, a movie you saw as a child and never forgot, a movie that shaped your adult love life.

If only the rest of the film around these two scenes were equally as good.

Here are the scenes: a man and a woman, deeply in love with each other, delay kissing, for the moment is not yet ripe. They spend time together, including collecting shells along the seashore.

Finally, one candle-lit night at dinner, the woman, radiating the original Earth Goddess, smiles at the man, and that smile communicates all. He knows that this is the night. He follows her to her bedroom, where she has positioned herself -- gracefully, beautifully, sensually -- in readiness for him. His hands shake...

Second scene: a man meets a little girl, and in that meeting comes to understand deep heartaches of his life in a whole new way.

And ... those scenes are reason enough to see this movie. Jeremy Northam and Jennifer Ehle are superb; the costumes are gorgeous; the lighting is perfect ...

And then you have the rest of the movie. Gwyneth Paltrow and Aaron Eckhart play two modern scholars studying the lives of the characters played by the aforementioned, excellent, Jeremy Northam and Jennifer Ehle.

Paltrow is terrific, everything the script calls for.

Aaron Eckhart ... was really good in "Company of Men." Here he just isn't enough. When Paltrow kisses him, and attempts to display passion, you are certain: she'd never go for this guy. She could get someone so much better, and she will.

The script makes Eckhart's character out to be something of a boy-man. Eckhart plays him with perpetually greasy hair and unshaved face. he wears the same clothes everyday. And he's something of a nothing.

But Northam and Ehle, and their story ... for the ages.

The love story of the past is beautifully photographed. Northam and Ehle are excellent and their passion for each other palpable. There are some unclear parts in the plot in the modern story. The modern couple have no reason to even be in the film except to link the writings of the couple in the Victorian romance. And nobody acts like a real archivist with real archivist ethics and beliefs in preservation. The excitement over a find is real for archivists, but none of the archivists or possible purchasers in the film show any of that excitement.

`Possession' has all the intricacy, mystery and suspense of a classic piece of detective fiction. What sets this film apart, however, is that the object of the mystery does not involve a dead body, a piece of stolen treasure or a missing person, but rather the hitherto secret love affair between two well-known 19th Century English poets. The clues come in the form of journal entries, love letters and snippets of enigmatic poetry that, when pieced together, afford a glimpse into the inner yearnings of these two young, but essentially unrequited lovers.

As a narrative, `Possession' runs on two parallel tracks, one set in modern times (that's where the detective story aspect comes in) and the other set in 1859, as we learn the details of the romance that took place between the writers. In the contemporary plot strand, Aaron Eckhart stars as Roland Michell, a handsome young American research assistant who has come to England to study the work of famed poet Randolph Henry Ash, a writer with a certain misogynistic strain who nevertheless enjoys the rather unique reputation among poets of having been utterly faithful to his wife. As the story begins, Ash has become something of a cause celebre within British literary circles because the year 2000 happens to mark the centenary of the discovery of his work. While poring over a first edition copy of one of Ash's volumes, Roland stumbles across some original letters of Ash's that hint at the possibility that Ash, contrary to the public impression of his marital fidelity, may actually have had an affair with another famed poet of the time, a Miss Christabel La Motte, a woman believed by her biographers to have been a lesbian. Confronted with this startling, revolutionary and, perhaps, priceless piece of information, Roland sets out to unravel the mystery, accompanied by Maud Bailey (Gwyneth Paltrow), an expert on the life and work of Miss LaMotte (and a distant descendant of that famed poet in the bargain).

`Possession' earns points automatically simply by providing us with a unique storyline and a fascinating glimpse into a world we have rarely if ever seen portrayed on screen - the world of literary investigation. We are fascinated by all the behind-the-scene details showing not merely the investigative footwork that goes into unearthing the biographical details of a writer's life, but also the sometimes-cutthroat nature that propels rival investigators to both make and publish their discoveries, even if that means utilizing tactics that can be described as, at best, unethical, and, at worst, illegal.

But `Possession' offers more than just that. It also manages to provide not merely one, but two complex romances occurring at the same time (though a full century apart in the context of the story). Randolph and Christabel are both products - and victims - of their Victorian Era morality, yet at the same time, their struggles are universal in nature and neatly correspond to those experienced by Roland and Maud, who literally follow in the footsteps of the earlier couple. As our modern day investigators travel the same route through England that Randolph and Christabel took a century previous, Roland and Maud reveal much about their own inability to make commitments in the face of possible true love. As they tentatively grope towards one another, then back away out of fear of pain and rejection, Roland and Maud define, in many ways, the métier of modern romantic coupling. Yet, we discover, through Randolph and Christabel, that life in the past really wasn't much different from what it is today.

Based on the novel by A.S. Byatt, the David Henry Hwang/Laura Jones/Neil LaBute screenplay provides highly charged scenes between our two romantic couples, particular those involving Roland and Maud. The dialogue in these encounters is often sharp, intelligent, incisive. The romantic moments between Raymond and Christabel have a slightly more conventional feel to them, but they, too, often ring true in a way that is both deeply moving and strangely exciting. Director LaBute has drawn wonderful performances out of his quartet of first-rate actors. Aaron Eckhart as Roland and Jennifer Ehle as Christabel are particularly effective in their roles.

It's refreshing to see a romantic drama that manages to generate some actual chemistry between its two on-screen lovers. In the case of `Possession,' our pleasure is thereby doubled, since the film accomplishes this with not merely one couple but two. `Possession' may not provide the blood, gore, corpses and hair-raising thrills one usually associates with detective fiction, but its devotion to the drama found in words, poetry, language and romance makes for no less an engrossing experience.