Paixão Inocente

I wish I could have given this a standing ovation, really I do. I loved the first half. The second could have been so good; all about impossible feelings and the characters accepting that fact, thriving on what little could be had and growing from it. But it was all squandered away in an apparent belief that "stuff has to happen."

I'll admit it would have been rather predictable even if it had been completed in a proper manner. But the mood and production was such that I don't think it would have bothered me. I am left with a fraction of the magic that could, nay should, have been here.

This ought to have been a strong 8. Instead I must score it a 6. And that makes me sad.

One of the problems with casting a person for a teenage role who is actually way older, is that you get an inaccurate depiction of what a teen is really like. This is true in terms of both looks and emotion.

I admit that I've met some 18 year old girls who seemed way older. But I never saw them deal with life crises. I bet they would not have dealt with them the way a 28 year old would. Felicity Jones was much older in real life than the character she played. In reality the male lead was only 16 years older than her. But he is probably supposed to be about 25 years older.

The attractive young woman who shares the male lead's interests and passions is a symbol of the disappointment of his life. His wife cannot relate to him, and perhaps never could. She was probably just humoring his musical lifestyle when they were young.

Ironically, the young girl will probably grow up to be just like his wife. She'll want a house in the country and a husband with a steady conventional job.

Not much happens in this film. It is all innuendo and atmosphere. But both of those are done beautifully. Upstate New York looks exquisite, the shots of the beautiful young woman are artistically pleasing, and the classical music fits the scenes perfectly.

Credit is due to the actors for portraying longing, and stifling dissatisfaction with aplomb. You feel their desperation without them saying much. Having said that, I would have appreciated at least one monologue from the male about how he really feels. If he could take down his guard for a few minutes and let it all out, that would have made the film. You could still keep all the subtle moments, but let him break down once and tell us something about how it feels.

My favorite scene is when the neighbor guy cavalierly says what is on both their minds. That was refreshing. He simply states that his neighbor has a hot young thing living with him and asks him what it's like. Then he says that it would be great to be young again.

This was a piece of self-indulgent art, but certainly worth viewing if you have the patience. Great cinematography, stellar acting, and plenty of mood music.

Unhappily married man falls for beautiful woman half his age whom he believes will free him from his imaginary prison: this plot has been done so many times, very rarely with any creativity or passion, and so Drake Doremus' latest addition to the anthology, Breathe In, doesn't inspire much excitement at first glance. But Doremus successfully sidesteps the staple clichés of the infidelity drama and has crafted an oddly delicate, taut, and surgical film that captivates and succeeds in spite of a few minor plot conveniences.

Keith Reynolds (Guy Pearce) is an ex-guitarist whose passions and hobbies have been stifled in favor of a suffocating teaching job and a quiet home life in a New York suburb with wife Megan (Amy Ryan) and daughter Lauren (Mackenzie Davis, a real find). During Lauren's senior year of high school, the family hosts pleasant but guarded exchange student Sophie (Felicity Jones), whose presence chips away at an evidently already fragile marriage and Keith's resentfully upheld responsibilities.

Doremus' breakthrough picture Like Crazy (also starring Jones) drew its fair share of detractors for its unconvincing plot developments and shockingly naive characters. He still doesn't have a complete handle on how to let plots develop organically, and Keith and Sophie are destructive and weak-willed if not naive, but Doremus is clearly growing as a writer: the bumps are less jarring, the characters more understandable. Breathe In is expertly precise and poetically delicate: sensational arguments and wild sex scenes are excluded in favor of subtle tremors in relationship dynamics and a tentative, genuine mental connection between the two leads. A plot line that lends itself easily to melodrama is instead executed with restraint and grace: Keith and Sophie don't even kiss until over an hour into the film and instead grow closer through fleeting glances, shared passions, mutual desires to break free, and support and curiosity that neither have received from another person in a very long time. Refreshingly, for once, it's not at all about sex - it is sensual, but the leads connect on a profound, intimate level rather than a physical one and, strangely enough, there are times when you can't help but want them to be together.

Pearce gives his best performance in years here as vulnerable and secretly needy Keith; he perfectly captures the crushing regret and childish idealism of a midlife crisis, and his slow unraveling at Sophie's touch is beautiful to watch. Jones, for the third year in a row, deserves some serious attention for her work here - Sophie is a stereotypical faux-intellectual, confident she sees all and knows all, and Jones retains that adolescent conceit while imbuing her with a deep, affecting loneliness and pain and a quiet but steely veneer masking it from the world. It's less showy, but more intricate and adult than her work in Like Crazy. Mackenzie Davis' first major movie role is pretty demanding and full of pitfalls, yet she creates the most sympathetic character in the film. Amy Ryan unfortunately isn't given much to do, and occasionally her character feels uncomfortable villainized, but she gives Jones a look at the end of the film that says much more than a 10- minute screaming scene ever could and confirms that she is one of the most insightful and communicative actresses around. There's not much dialogue in the film, and most of it is layered with subtext rather than explicitly revealing, so a great deal of responsibility falls on the cast's shoulders, and they more than carry their weight.

Critics of Like Crazy probably won't be won over by Breathe In as in terms of direction, style and writing it follows many of the same formulas - a simple piano score, natural and unaffected cinematography, many close-ups and scenes where nothing at all is communicated verbally. The characters are less likable this time, and while they are more fleshed out and therefore easier to relate to, it's difficult to find someone to root for. But Doremus is maturing: there's less reliance on plot contrivances to move the story along, and instead he lets the tiny fissures, the soundless sensuality, and the growing tension drive the film to its explosive and agonizing finale. There is some great character- and dynamic-building here, and once Doremus has a better grasp of storytelling, he will really be a force to be reckoned with.

No mere love story, "Breathe In" is a quietly powerful film about two people who are eloquently and achingly swept up in a deep "connection" that defies description. To label this honest and beautiful film a "family drama" does it an injustice, but if that's what it is, then "Breathe In" is the best family drama I have ever seen. Felicity Jones as Sophie, the visitor, is captivating -- insightful, kind, and vaguely troubled. Sophie also happens to be a piano prodigy, perhaps an allusion to being a sort of "prodigal daughter." The film's atmosphere is masterful,an outstanding collaboration of cinematography, production design, and music. Breathe In maintains tension without ever becoming shrill,oppressive, or melodramatic, a balance that has been difficult to strike in so many of the "family dramas" that have come before it.

"Breathe In" is a film whose plot sounds a bit salacious. And, considering it's a rated R film, I was a bit apprehensive to see the movie. After all, the film is about a man who falls in love with the high school exchange student that he and his wife took into their home. However, the film turned out to be extremely well made and not at all what I expected. And, I have no idea why it's rated R, as the film has no nudity, violence and the language is awfully tame. Overall, it's well worth your time finding this film--and it's available as of this week with Netflix.

When the story begins, Keith Reynolds (Guy Pearce) and his wife Megan (Amy Ryan) seem to have a very good life. Their daughter is a pretty high school athlete, they have a lovely home in the suburbs and the marriage seems strong. All of this is shaken shortly after they take in Sophie (Felicity Jones)--an exchange student from Britain. You begin to notice that there are some problems in the Reynolds marriage. Keith is a frustrated musician who dreams of leaving his teaching job to be a full-time musician. However, Megan won't even consider this and insists that he must continue working to keep the family just as it is now. And, she is quite dismissive of his dreams and seems to have little desire to connect with his love of music. Here is where Sophie comes into the picture. She is a great pianist herself and loves Keith's music. She also encourages him with his dream of joining a great orchestra. So, as the film progresses, the pair become closer and closer. And so, when they begin to feel inappropriate feelings towards each other (especially since he is her teacher), it's not especially surprising and, in some ways, it's expected by the viewer. However, and this is important, the film is NOT meant as a romance or endorsement for middle-aged men to have sex with young exchange students. Instead, it's a character study about loneliness within a marriage--loneliness which may push someone to consider making some very stupid choices.

So why do I recommend the film? Well, the film is so well made in so many ways. The acting (particularly by Pearce and Jones) is so good because it seems so real. And, the director did a nice job of combining this acting, a nice and provocative script and some really wonderful emotive music into a great little package. I also liked it because it really makes you think and assess where you are in your life. It really struck close to home for me and my own marriage. For me, it was actually very affirming because my own wife went through a mid-life crisis like Keith Reynolds--wanting to give up a very lucrative career as an engineer to become a fiction writer. But, unlike Megan, I thought this was great. Sure, it might mean giving up a lot for the family so that she could follow her dream...but we also knew it would kill her if she didn't--and she is worth the sacrifice. And, in the end, we are all so much better for it--she is quite successful and the change has definitely been for the better for not just her but the entire family.

As I mentioned above, this film just came out on Netflix this week and is well worth seeing--particularly with your partner or other loved ones. Don't worry about the R rating--it's also fine for you to see with your teens or mother! I also noticed a reviewer who saw the film as tedious. Well, I sure didn't and it kept my interest throughout.