Un mari idéal

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.

It's quite a long time that i haven't seen such a perfect movie: a highly talented cast, a lavishing setting and a finely chiseled and powerful script.

Here, you got an all-star team: Driver as the eccentric but romantic young woman (unfortunately a falling star that hasn't shine for a long time), Moore as the Machiavellian lonely woman, Everett as the helpful friend, "Sir Robert" as the courageous man and ... Blanchet as the lovely wife whom characterization deeply moved me. In my tumultuous life, i was just wondering what's the special gift a woman can offer (me) to fall in love: beauty, wit, sensuality, wealth, power? Gertrude has nothing of that but her kindness, her attention, her devotion left me under the spell. She could become easily my ideal wife.

Then, the story happens in the Victorian time for which i have also a strong tie. I just really appreciate the British phlegm: you can say the more vile things but always with class. Here, you find cupidity, blackmail, lies, ambition but there's nor a fight nor a shout!

At last, the script is really well written: you don't know if this is a romance, a buddy movie, a thriller or a tragedy. I really like the morals questions the movie asks: can a bad action be redeemed? How can a true friend be helpful? Does love live with lies? The answers are not brought in a dull, academic patronizing way but playfully because all the characters seems to orbit around each other!

In conclusion, it's a sort of lighter and happier "Carlito's way" thus a great movie that is maybe really unknown.

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.

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.

One of the principal sources of humour in Wilde's plays comes from pricking at the inflated egos, pious humbug and ignorance of the upper classes. There is always a Wildean character to reverse a clicheed expression or invert conventional 'wisdom.' Unfortunately, by stripping most of his characters of their stiff formality and rigid social code, the writer and director have removed the butt of the joke and Wilde's comments on absurdity are left without a punchline. The attempt to work in anachronistic social relevance leaves us with a set of feeble characters who fall in love with each other for no obvious reason. Because Wilde's language has been sterilised the actors have to use mugging to express the personalities Wilde created. Result, a charmless and dated 'political' drama as credible as a Jeffery Archer novel. Gertrude is insecure and fretful where she should be smug and priggish- Mabel is arch where she should be caustic- Poor Oscar - gets no 'Oscar'!