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Gosford Park 2001 |
Review by Jonathan Cornwell |
Directed by Robert Altman
R, 138 min. (language, brief sexuality) |
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Starring: Emily Watson, Derek Jacobi, Maggie Smith, Kristin Scott Thomas, Kelly Macdonald, Clive Owen, Stephen Fry, Ryan Phillippe, Jeremy Northam, Helen Mirren, Michael Gambon, Alan Bates, Richard E. Grant, Eileen Atkins, Bob Balaban, Charles Dance, James Wilby
Producers: Robert Altman, David Levy
Screenplay: Julian Fellowes
Cinematography: Andrew Dunn
Distributor: USA Films
Released: 12.26.01 (Limited) |
Rating:
  (out of ) |
Director Robert Altman has always been effective at utilizing a large ensemble cast and being able to steer his audience through
the complicated relationships and unrelated subplots that invariably crop up during this type of film. In his latest effort,
Gosford Park, he goes back to his roots - just as in his other classics, McCabe and Mrs. Miller, Nashville, and MASH,
he's able to navigate stormy plot devices to arrive at a pleasurable, thoroughly watchable picture that makes you want to
see it again in order to discover hidden quirks that make it irresistible. Gosford Park addresses the intricate relationships
between the social elite and the servant class, with remarkable performances that further yield impressive results for a film
that is part murder mystery and part character study. For those who love the intelligent craftiness of a "British murder
mystery" or the cleverness of a television series like "Upstairs, Downstairs", this film will be a welcome and enjoyable
time well spent in the theater.
Gosford Park plays out like a giant maze, incessantly wandering from one "tiny plot" to another, while promising
to link all those subplots into one common storyline - in this case a murder mystery. Maybe not to the level of an Agatha
Christie endeavor, but still an interesting mystery that's enhanced by the fact the characters and their related stories make
all of them a prime suspect. We clearly see the thin veil that separates the elite from their servants, as their own individual
problems and lives are more similar than they'd like to admit. There's jealousy, greed, love, and insecurity. It's wonderful
to see each character, whether a servant or lord, struggle with the same issues.
The film takes place at arguably the height of British society, the 1930's shortly before the country was changed forever by
World War II. A band of the social elite descend on a country estate of Sir William (Michael Gambon) and Lady Sylvia McCordle
(Kristin Scott-Thomas). Their guests include Lord Stockbridge (Charles Dance), Freddie Nesbitt (James Wilby),
Countess of Trentham (Maggie Smith), and a few Hollywood types, Ivor Novello (Jeremy Northam), Henry Denton
(Ryan Phillippe), and Morris Weissman (Bob Balaban). Not to be outdone are their servants, led by Mrs. Wilson (Helen Mirren).
She oversees the affairs of the household and directs the other servants - Elsie (Emily Watson), Mary (Kelly Macdonald), and
Robert Parks (Clive Owen). Soon, secrets both upstairs and downstairs are slowly revealed, leading to a murder and eventual
investigation by a bumbling inspector (Stephen Fry).
Altman takes ample time to establish the many characters and their relationships, so, when the murder occurs, we're
familiar with who may have had the most to gain or lose by the death. The film's strength comes from its ability to make
the audience care about each of these relationships, and how this traumatic event will alter their lives. Whether a servant
will quit and seek another line of work, or merely step into line when their master leaves, is somewhat ambiguous. Some
viewers will mistakenly believe the murder is at the center of film when it's really not. Instead, it's the dramatic revelations
that are loosened from their anchored hiding places that shape the story's main themes.
The cast's performances are top-notch. Although the majority of the cast is British, American actors Ryan Phillipe and
Bob Balaban more than hold their own. Because of such a large cast, each actor knows their individual scenes won't be
numerous, resulting in fine efforts from each of them. Helen Mirren and Kristin Scott Thomas probably receive the most
screen time, and they make the most of it. Mirren's performance in particular is a moving tribute to her impressive career.
The only performance that seems a little out of place is that of Fry's character, an inspector, which obviously parodies many
similar roles in British murder mysteries.
Gosford Park is such a majestic film to look at, that, despite its long running length, is probably too short. There's so much
to cover in the allotted time that it becomes evident the film will have to end abruptly. It's enjoyable to see the mansion, the
estate, and the countryside seemlessly mesh into an ensemble of its own - the visuals are almost a story of their own. I read
somewhere that the interior shots of the mansion, both upstairs and downstairs, were built specifically for the film. That's
impressive, because you never get the sense you're watching something artificial.
If there was ever a film to be seen more than once, this is it. Once you understand the basic setup, the premise, and the
outcome, you can pay more attention to the intricate details that escape you the first time around. Altman is a master
of the nuanced scene that plays out so normally that you hardly notice its genius. Hidden treasures are there to find
if you're willing to give it your time. Gosford Park is maybe the most enjoyable film of the year, and, if you appreciate the
sly wit and clever British flair that permeates the film's every pore, you'll love what Altman has accomplished here.
© 2002 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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