Closer directed by Mike Nichols
Written by Patrick Marber

With Julia Roberts (Anna), Jude Law (Dan), Natalie Portman (Alice) and Clive Owen.(Larry)


Yes, but closer to what?

I went to see this film over a week ago and am still trying to work it out. Here goes so far:

Closer is written by Patrick Marber. PM also wrote Paul and Pauline Calf and wrote and appeared in Steve Coogan sketches (Knowing Me, Knowing You). So, what does this has to do with Closer? Well, in places Closer was very sharp and funny; where it was supposed to be eg:

Anna: I don't want trouble.
Dan: I'm not trouble.
Anna: You're taken.
Dan: You... KISSED me!
Anna: What are you - TWELVE?

but also where it wasn’t supposed to be, and I was wondering if it wasn’t just my twisted sense of humour (but I wasn’t the only one laughing in the cinema in the ‘wrong’ places.)

Closer was originally a play. I can imagine it worked as a play – the pared down dialogue, the intensity of emotions. Some plays convert well to film (funnily enough all my examples are French) ‘Le Diner des Cons’, ‘Un air de famille’ and Ozon’s ‘8 femmes’, a huit clos. In the case of French films, they work because the play format gives them a certain structure and more rigour in the timing of the dialogue, whereas the average French movie tends to be either plotless and rambling or over-told, usually by hysterical high-pitched women. (maybe these ones don’t get released internationally)

So, why doesn’t Closer work as a film? Firstly, the hook didn’t hook. The whole first scene where Alice, the lost American, walks out in front of a taxi and is rescued by Dan does not convince. The dialogue is so reduced, it’s ridiculous and the strong emotions which would reach to the back of a large theatre, tend to overcrowd the back of a taxi.

I don’t know how the Americans reacted to Alice asking to use the ‘loo’ (maybe it’s subtitled in the US) and Anna offering to make tea every five minutes (at one stage she even gets her PG Tips out, although I’m not sure she’d know what to do with them.) Oh, that was supposed to show how integrated they were, right, okay. Except, like everything else, the time is reduced so that years pass in seconds and the scenes of the film correspond with the break-ups in the respective relationships. One exception being the excruciatingly long cyber sex scene (10 mins) Yes, it was funny in a seen-it-before kind of way, but in the end my friend and I passed our time trying to work out the cyber-speak subtitles (ie we were bored).


“If you believe in love at first sight, you never stop looking” is the tagline, and Alice does say “Isn’t love enough?” but it appears not to be the case, although the character motivation for the various break- and make- ups are dubious (even tedious) after a while.

So, onto the ending, where we are presented with a Usual Suspect/The Others/Sixth Sense kind of ‘Oh, I’d never have guessed’ situation. I imagine if you were totally into the Closer trip, you would have found this mind-blowing and skilful, but I’m afraid by then I was more interested in where we were going to eat after.

Oh and yes, I know it’s been nominated for Oscars, but that’s my opinion and I’m sticking to it!

Interesting review, Elspeth. So far I've had three lots of feedback from friends (all intelligent women) who saw this film separately. Two thought it was brilliant. The third said it was the worst film she had ever seen and she almost walked out half way through.

I am intrigued and will see it soon!

Adele.

Oh yes, it's definately worth seeing, Adele, but seems to be one of those films - I'll be interested to know in which camp you fall!

Elspeth

Have you seen Sideways? Both are up for Oscars. Wondering if you think it's better? So far, my vote goes to Sideways as the best film of the year.

Adam, it's not out here till next week, but I'll let you know.

Oh good. You're gonna love it. Awesome film.

El

I think you're right on the button. Nobody seems to want to be as downright unpleasant and sexually manipulative as the script suggests; certainly not Julia Roberts. They're all signalling, 'I'm really OK underneath'. Therefore the performances are working against the underlying narrative drive. So it's messy, full of confused signals.

For me, generally neither Brit nor American directors can do grown up films about sex: Brits are only comfortable when the sex is repressed and smutty, evoking nervous laughter: for the Americans - well go and see the 'Fockers' - perfect illustration. We must look to Europeans especially French and Italian directors for a sense of fun and maturity. Honourable recent exceptions: Jane Campion - In The Cut and of course Liklater's Before and After Sunset - both the latter very Continental in tone even though Linlater is American.

Nice review - thanks.

Zettel

Z - "Therefore the performances are working against the underlying narrative drive. So it's messy, full of confused signals."

You've summed it up perfectly.

Good to hear your POV
E

Hello again, Elspeth. Ok, I've seen it now. I liked it more than I disliked it, but wish I'd seen it on the stage where I'm sure it would have been much better.

I thought Clive Owen's character developed really well and he was very good in the part. Julie Roberts lacked the cold/bitchy edge that her character seemed to need. I rated Natalie Portman, but wanted something very bad indeed to happen to Jude Law...

There were a few cracking lines like the one about the human heart looking like a fist wrapped in blood - top that!

Adele.

Hi Adele,
I agree that there are some great lines, but somehow they don't come off in this film - maybe they stand out for being too clever - I'm sure they'd come across better on the stage. Totally agree with you about the 4 characters!

Elspeth

Btw, Elspeth, in answer to your question, closer to what? I think the answer may be closer to intimacy (key scene: the private lap dancing session).

Adele.

I have just seen this film on DVD. The entire way through - from the opening scene, Dan working in the obituary section of the newspaper, throughout the entire story in fact - I felt strongly I had read this all before.

I seemed to recall reading it in a ratty old book I maybe borrowed from the library or bought secondhand and since discarded.

The book though was set earlier, maybe in the late 50s or early 60s. So throughout the movie I was paying attention to how the setting had been updated.

And at the end of the film I was looking closely at the credits to see if it was based on a book. But no - a play.

That's odd. My memory of the book is not crystal clear by any means, but it wasn't a play - that's for sure.

Then I looked on the internet and discovered that the writer of the screenplay and original play, Patrick Marber is only 41.

This doesn't add up at all.

Have I just invented this extremely strong memory of reading this story about 20years ago in an old ratty book?

The elements I remember most strongly are;
a young aspiring writer working in the obituary section of the paper, his boss eventually dying
the "Alice" character being very different to other young women, very stong but also weakened by love
the book also mentions in detail the little things of the relationship - the very simple little dinners they prepared for themselves like eggs and sardines on toast

But there are lots of little things throughout the movie that all tallied up and rang familiar to me.

I have definitely never read the play and at the time of my life when I was reading lots of ratty little books from libraries and secondhand shops, the play had not yet been written.

Does anyone else recognise anything from this story - or is this just future dejavu or some such crap????

I saw this last night.

It didn't really get going for me until the scene where Julia and Clive reveal to each other there extra marital affairs and Clive barks that he needs to know the positions they fucked in "because I'm a cave man". The whole second half of the movie had me leaning on every word. The first half was very weak, but I did enjoy the opening scene(not necessarily hooked).

Having said that, if it wasn't for Natalie Portman, I probably would have not watched this movie to the end. Natalie Portman is probably the greatest living actress of our era.

From Leon to Beautiful Girls to Cold Mountain to Garden State to This. "Can't take my eyes off of you...

Natalie Portman is probably the greatest living actress of our era

That's hilarious Adam. Have you even seen her wooden romp through the new Star Wars movies? She can be ok, but that's about it. Maybe you shouldn't base someone's ability and talent by how quickly they get their baps out? Though I am sure you are being sarcastic...

'Closer' - what a load of pretensious drivel. I found none of the character's remotely authetic or engaging, and the whole affair was just one massive turn off.

JB

How could you forget, Natalie Portman as Marty-

Marty: If I'm not mistaken, you've come back here to the house of loneliness and tears, to Daddy Downer and Brother Bummer, to come to some sort of decision about life, a life decision if you will.

No, I really do think Portman rules.
And I'm not even physically attracted to Portman, her whole screen presence draws you in and you are forced to follow her(except for Star Wars--but it is probably tough to always make "artistic" choices in hollywood.) Mystique goes a long way for actors - which she holds. And at the same time, she doesn't have a stereotypical "character" in any role she plays. She brings out the best in each written part.

I don't think Closer was spectacular. However, I believe she carried that whole movie, even as a supporting part.