David O'ConnellTwo Lovers
May 28th 2009 04:37
Stepping back from the strained family ties and devestating impact of criminal impulses that distinguished his first trio of films, writer-director James Gray turns his attention to an even more intimate story with his latest work. Anyone who’s listened to him waxing lyrical about his varied influences on the commentary track of The Yards won’t be surprised to learn he’s maintained his unique stylistic composure here with a masterly and somber contemplation of tiny, wounded lives.
The opening scene sees Leonard (Joaquin Phoenix) making an aborted suicide attempt. Evidently struggling with life and putting aside a chequered past, he's returned home to live with his thoroughly decent parents (Isabella Rossellini and Moni Moshonov) after time spent 'away'.
Leonard is being groomed to continue his father’s dry cleaning business under the tutelage of pending new owner Michael Cohen (Bob Ari), but equally, his parents would like to see him become a lot closer with the Cohens’ daughter Sandra (Vinessa Shaw). He seems indifferent to the possibilities, but is soon distracted by the appearance of troubled neighbour in their apartment building, Michelle (Gwyneth Paltrow).
It becomes a classic good girl/bad girl dilemma for Leonard, a tussle between Sandra, the gift that’s there for the taking, requiring minimal effort to claim her, and the erratic blonde who seems untouchable at first. Does the fact that Michelle remains out of reach and under another man’s spell only enhance his desire for her?
As with all of Gray’s films, there’s a strict, strongly European adherence to craft with his unique, gritty, minimalist style. Honestly, no synopsis of this film can do it justice – the proof of its worth only becomes evident in its texture, the grainy authenticity of every frame. The sound design is immaculately conceived too, creating a haunting sense of disquiet in some key scenes, especially those on the wintry rooftop of Leonard and Michelle’s building, the surging wind howling like a reproving chorus. It’s just one of many strokes of genius.
Another trait of Gray’s work is the high level of acting he elicits from his cast. For the third straight film, Phoenix, who has become his muse it seems, takes centre stage, and despite my general reservations about the man, I have to admit he pulls it off. He has enough talent to convince you of Leonard's ability to win over a beautiful woman whilst remaining grounded in the drab, colourless void of a distinctly ordinary man with the worrying tendencies of a loser; a man too whose excruciating past mistakes – some only hinted at, others subtly referred to - are bound to forever haunt him and taint his credibility.
Paltrow, though seemingly miscast at first, ends up giving one of her strongest performances, her beauty offset by her character’s frailty and lack of emotional strength. Michelle is a figure of tragedy, but of her own making, unable to reconcile her needy cravings for the married man (Elias Koteas) she adores with the conviction that she’s being taken for a ride. Paltrow convincingly accentuates Michelle's meltdown as crucial decisions are confronted, especially in the wake of the Leonard’s feelings for her, taking on startling dimensions in a short span as they do.
Shaw, a severely underused actress who I always remember from an indie gem called L.A. Without a Map more than a decade ago, is a revelation here with her translucent, angular beauty helping to create the film’s most sympathetic character. Though pointed in Leonard’s general direction by her domineering father, she admits to being intrigued by him and the prime instigator in their fateful introduction.
James Gray’s Two Lovers is without doubt his best yet, the kind of mature drama that needs to be relived again to fully absorb its nuances, its breathtaking assurance. With the aid of cinematographer Joaquin Baca-Asay‘s probing lens, this talented young director puts us uncomfortably close to his actors at times, creating a powerful immediacy that resonates long after the bittersweet final frame.
The opening scene sees Leonard (Joaquin Phoenix) making an aborted suicide attempt. Evidently struggling with life and putting aside a chequered past, he's returned home to live with his thoroughly decent parents (Isabella Rossellini and Moni Moshonov) after time spent 'away'.
Leonard is being groomed to continue his father’s dry cleaning business under the tutelage of pending new owner Michael Cohen (Bob Ari), but equally, his parents would like to see him become a lot closer with the Cohens’ daughter Sandra (Vinessa Shaw). He seems indifferent to the possibilities, but is soon distracted by the appearance of troubled neighbour in their apartment building, Michelle (Gwyneth Paltrow).
It becomes a classic good girl/bad girl dilemma for Leonard, a tussle between Sandra, the gift that’s there for the taking, requiring minimal effort to claim her, and the erratic blonde who seems untouchable at first. Does the fact that Michelle remains out of reach and under another man’s spell only enhance his desire for her?
Leonard (Joaquin Phoenix) at dinner with Michelle (Gwyneth Paltrow) and her suitor Ronald (Elias Koteas)
As with all of Gray’s films, there’s a strict, strongly European adherence to craft with his unique, gritty, minimalist style. Honestly, no synopsis of this film can do it justice – the proof of its worth only becomes evident in its texture, the grainy authenticity of every frame. The sound design is immaculately conceived too, creating a haunting sense of disquiet in some key scenes, especially those on the wintry rooftop of Leonard and Michelle’s building, the surging wind howling like a reproving chorus. It’s just one of many strokes of genius.
Another trait of Gray’s work is the high level of acting he elicits from his cast. For the third straight film, Phoenix, who has become his muse it seems, takes centre stage, and despite my general reservations about the man, I have to admit he pulls it off. He has enough talent to convince you of Leonard's ability to win over a beautiful woman whilst remaining grounded in the drab, colourless void of a distinctly ordinary man with the worrying tendencies of a loser; a man too whose excruciating past mistakes – some only hinted at, others subtly referred to - are bound to forever haunt him and taint his credibility.
Leonard gets closer to Sandra (Vinessa Shaw)
Paltrow, though seemingly miscast at first, ends up giving one of her strongest performances, her beauty offset by her character’s frailty and lack of emotional strength. Michelle is a figure of tragedy, but of her own making, unable to reconcile her needy cravings for the married man (Elias Koteas) she adores with the conviction that she’s being taken for a ride. Paltrow convincingly accentuates Michelle's meltdown as crucial decisions are confronted, especially in the wake of the Leonard’s feelings for her, taking on startling dimensions in a short span as they do.
Shaw, a severely underused actress who I always remember from an indie gem called L.A. Without a Map more than a decade ago, is a revelation here with her translucent, angular beauty helping to create the film’s most sympathetic character. Though pointed in Leonard’s general direction by her domineering father, she admits to being intrigued by him and the prime instigator in their fateful introduction.
James Gray’s Two Lovers is without doubt his best yet, the kind of mature drama that needs to be relived again to fully absorb its nuances, its breathtaking assurance. With the aid of cinematographer Joaquin Baca-Asay‘s probing lens, this talented young director puts us uncomfortably close to his actors at times, creating a powerful immediacy that resonates long after the bittersweet final frame.
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Comment by Anonymous
Cheers Man!!
Comment by Matt Shea
20/20 Filmsight
Comment by MelGee
Comment by David O'Connell
Screen Fanatic
Cheers Matt, Gray's past work is well worth checking out, a very exciting young director. It's been quite a treat having two films released in as many years after the interminable 6 and 7 year gaps between his first 2.
I particularly love The Yards, let me know what you think and be sure to check out his commentary on the DVD, one of the best I've ever heard.
Two Lovers is released nationally this Thursday, June 4.
Comment by Michelle Sweeney
Competition Queen
Always Learning
Cinema Voyage
Comment by David O'Connell
Screen Fanatic
Comment by Irene
Grammar Matters
Cooking Monkey
Comment by David O'Connell
Screen Fanatic
Let me know what you think of Two Lovers if you get a chance to see it.
Comment by Michaelie
Flick Wit
Not the biggest fan of Paltrow or Pheonix, with a few exceptions, but you have convinced me this one's worth looking at. It's on the incredibly long list of movies I need to get around to.
Great review!
Michaelie
Comment by David O'Connell
Screen Fanatic
Comment by Cinema Autopsy
I'm also thrilled to see you mention L.A. Without a Map because I thought that I was the only person who not only saw that film but also liked it too!
But back to Two Lovers - I think describing the ending as bittersweet is spot on. I had incredibly mixed feelings about how it all played out but that is just one more reason for why I love this film so much.
Cheers
Thomas
Comment by David O'Connell
Screen Fanatic
I'm rapt to hear someone else likes L.A. Without a Map! Like you I've never come across another person who's even heard of it!! I was just thinking the other day, in the light of seeing Vinessa Shaw again, that I really should dig it out of my VHS stacks and re-watch it for a review.
Thanks again and take care,
David