(Rating: ☆☆☆ out of 4)
This film is mildly recommended.
In brief: No Midas touch...a serious-minded film that only scratches the surface of its important subject.
GRADE: B-
It seems standard practice nowadays that whenever a film is touted "based on true events", it is far from true. Upon researching this biography of Adele Bloch-Bauer and her family, that much is true. The gold standard has been slightly devalued in this noble effort that tells its "true" story in the most melodramatic of ways. Woman in Gold simplifies an important issue (the ethical matter of stolen art during the Nazi reign) and tries to personalize this historic event with stick figures as its characters and the wobbliest of story as its source. While it certainly is engrossing fare, it's a foolhardy result.
Set in Vienna, the film centers on Klimt's masterwork, Portrait of Adele Bloch-Bauer I. Once owned by the family and taken away from this Jewish clan and now the property of the Viennese government, the painting is now the treasure in question. A legal fight ensues. In one corner stands our worthy contender, "Saint" Maria Altman (Helen Mirren), who if we are to believe, wants this artwork back in her possession for strictly personal reasons as the painting depicts her dearly beloved grandmother. Taking her case is a young idealistic lawyer, Randol Schoenberg (Ryan Reynolds). In the other corner are those nasty governmental bureaucrats who want to keep the work of art for its people as a symbol of patriotism and national pride. And the financial worth of the piece sure doesn't hurt either.
The painting becomes the MacGuffin in this film that brings on the conflict and unites both parties in their battle over ownership. Alexi Kaye Campbell's misbegotten screenplay sees the issue in only black and white terms, with its stilted arguments and painted in the broadest of brush-strokes that never resemble anything remotely realistic. There is no balance in this weighty matter with all sympathies going to our stoic heroine from the outset.
Adequately directed by Simon Curtis, the film carries its self-importance as its main pedigree. Adele is a feisty and strong-willed character, a predictable combination for the crowd- pleasing audience to root for and Dame Helen energizes the proceeding with her finely nuanced portrayal of a woman determined to fight injustice. But the film's lack of reality is the real crime in question. (Granted the tale spans decades, yet it should still adhere to the facts more closely...which it does not.) Mr. Reynolds is miscast in the crusader role, part nebbish and part idealistic hero as written, although the actor is never that convincing in the latter. Also in the cast are Daniel Bruhl as Hubertus Czernin, an ally to the cause, Tatiana Maslany as the younger Adele, Max Irons as her husband, and Henry Goodman as her father (in flashbacks), all contributing greatly to their underdeveloped characters. More support is given by Charles Dance, Elizabeth McGovern, Frances Fisher, Jonathan Pryce, and Katie Holmes as Pam, all talent wasted.
Woman in Gold is a riveting tale. The subject matter alone is compelling, but it remains pure fool's gold in its filmmaking efforts. See this docudrama for the glowing Ms. Mirren and the glorious artwork on display. They're priceless.
Visit my blog at: www.dearmoviegoer.com
ANY COMMENTS: Please contact me at: jadepietro@rcn.com
This film is mildly recommended.
In brief: No Midas touch...a serious-minded film that only scratches the surface of its important subject.
GRADE: B-
It seems standard practice nowadays that whenever a film is touted "based on true events", it is far from true. Upon researching this biography of Adele Bloch-Bauer and her family, that much is true. The gold standard has been slightly devalued in this noble effort that tells its "true" story in the most melodramatic of ways. Woman in Gold simplifies an important issue (the ethical matter of stolen art during the Nazi reign) and tries to personalize this historic event with stick figures as its characters and the wobbliest of story as its source. While it certainly is engrossing fare, it's a foolhardy result.
Set in Vienna, the film centers on Klimt's masterwork, Portrait of Adele Bloch-Bauer I. Once owned by the family and taken away from this Jewish clan and now the property of the Viennese government, the painting is now the treasure in question. A legal fight ensues. In one corner stands our worthy contender, "Saint" Maria Altman (Helen Mirren), who if we are to believe, wants this artwork back in her possession for strictly personal reasons as the painting depicts her dearly beloved grandmother. Taking her case is a young idealistic lawyer, Randol Schoenberg (Ryan Reynolds). In the other corner are those nasty governmental bureaucrats who want to keep the work of art for its people as a symbol of patriotism and national pride. And the financial worth of the piece sure doesn't hurt either.
The painting becomes the MacGuffin in this film that brings on the conflict and unites both parties in their battle over ownership. Alexi Kaye Campbell's misbegotten screenplay sees the issue in only black and white terms, with its stilted arguments and painted in the broadest of brush-strokes that never resemble anything remotely realistic. There is no balance in this weighty matter with all sympathies going to our stoic heroine from the outset.
Adequately directed by Simon Curtis, the film carries its self-importance as its main pedigree. Adele is a feisty and strong-willed character, a predictable combination for the crowd- pleasing audience to root for and Dame Helen energizes the proceeding with her finely nuanced portrayal of a woman determined to fight injustice. But the film's lack of reality is the real crime in question. (Granted the tale spans decades, yet it should still adhere to the facts more closely...which it does not.) Mr. Reynolds is miscast in the crusader role, part nebbish and part idealistic hero as written, although the actor is never that convincing in the latter. Also in the cast are Daniel Bruhl as Hubertus Czernin, an ally to the cause, Tatiana Maslany as the younger Adele, Max Irons as her husband, and Henry Goodman as her father (in flashbacks), all contributing greatly to their underdeveloped characters. More support is given by Charles Dance, Elizabeth McGovern, Frances Fisher, Jonathan Pryce, and Katie Holmes as Pam, all talent wasted.
Woman in Gold is a riveting tale. The subject matter alone is compelling, but it remains pure fool's gold in its filmmaking efforts. See this docudrama for the glowing Ms. Mirren and the glorious artwork on display. They're priceless.
Visit my blog at: www.dearmoviegoer.com
ANY COMMENTS: Please contact me at: jadepietro@rcn.com