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Innocence 2000 |
Review by Jonathan Cornwell |
Directed by Paul Cox
R, 94 min. (sexuality, nudity) |
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Starring: Charles Tingwell, Julia Blake, Terry Norris, Kristien Van Pellicom, Kenny Aernouts
Producer: Paul Cox
Screenplay: Paul Cox
Cinematography: Tony Clark
Distributor: IDP
Released: 8.17.01 (Limited) |
Rating:
  (out of ) |
Love, as it's portrayed in Paul Cox's intricately-crafted Innocence, has rarely been more pure. Even more
startling is the fact that Cox uses an atypical approach to communicate the message - in the form of two lovers nearly
70 years old. Most studios would cringe at the thought of making a picture featuring senior citizens in love, but that's only
because the average moviegoer has been deluged with images of youth over the wisdom of age. Innocence, which
was made in Australia, is a gem to those who seek it out. It's also easily one of the most poignant films about the pure innocence
of love to hit the big screen in many years.
The reason for the film's tangible authenticity is in the way Cox allows his actors to grow with his material, releasing them
from the shackles of set-in-stone dialogue. This is not to say Cox's script is lacking, on the contrary, it's one of the better
screenplays of the year, witty, intelligent, and most importantly down to earth. This is not your average run-of-the-mill
romantic dramedy. What Cox has to say about love in its purest form - excluding sex, nudity, or lust - moves Innocence
from the realm of solid love stories to a level of clarity that is breathtaking in its simplicity. Love, as seen through the open
eyes of the elderly, is something that doesn't waste time on the frivolity of unspoken feelings, embarassment, or tempered
emotions. These characters recognize that love is, in the end, the best that this life has to offer, and, unabashedly, all that
really matters. That Cox understands this and effectively translates it through the medium of cinema is a triumph
in itself.
Andreas (Charles Tingwell), a widower in the twilight of his life, rekindles a love affair with Claire (Julia Blake), his long ago
teenage girlfriend, who is married to a man, John (Terry Nichols), who can't express his feelings. At first, they communicate
through letters to make up for lost time, but eventually they meet, and find that the passion for each other still exists. Though
they were deeply in love when younger, a sudden breakup covered unspoken truths that stayed buried beneath their
ensuing lives. Both had families, children, and good spouses, but now, as their cycle of life is nearing completion, they
realize that despite the havoc that a newly refound romance would cause, they can't deny their true feelings for each other.
Despite the problems that arise - Andreas' terminal cancer and John's reawakening of emotion for Claire - their love remains
at the epicenter of their lives.
The brilliance of Innocence is in the way the subject of love is examined. Andreas and Claire don't simply fall into each
others' arms at first glance - they know feelings are still present, but speak about them and the consequences of their
actions before giving in to them. When they are about to make love for the first time in ages, Claire makes sure that
Andreas "closes the blinds and closes his eyes". Both characters are older, but they haven't lost the innocence that they
once possessed as teenagers. Here's a film that's intelligent enough to consider love in terms of reality rather than with
fairy tale like circumstances. Cox shows us love that is both powerful and considerate, without delving into a morass
of glossed-over contrivances.
But there's also another story taking place. A lesser film would ignore John or paint him as a mean-spirited malcontent,
but this film explores the issues of displacement, jealousy, and fear when John confronts his wife's unfaithfulness. Of course,
one could hardly blame Claire for seeking love elsewhere, since John's definition of love is loyalty and companionship without
passion. When John becomes incensed at her affair with Andreas and proclaims his love for her, she calmly chastises him
"That's the first time you've told me you love me in 30 years." John has grown old with the comfort of his own selfishness.
Now that his uneventful life has been shaken, his quest for desirability has begun. Unfortunately, his competition shares
a bond that cannot be broken.
Of course, the film would ring hollow if not for the natural performances of Tingwell, Blake, and Nichols. That they understand
the nuances of Cox's sublime script and transform it to a level of believability rarely achieved in today's cinema is remarkable.
Cox takes great care to urge Tingwell and Blake to play off each other with a realism that puts most other films to shame.
The vulnerable authority that they bring to their roles eschews the temptation to overplay or push the film into a melodramatic
meltdown. And Nichols' strong supporting turn as the conflicted and hurt John only enhances the film's message of the need
to love and be loved.
Innocence is a quiet, introspective film, but it never seems to drag. Instead, it lifts one's spirit as Andreas and
Claire share something that is timeless and honest. That true love is shown in such close proximity to death lends the film
a surrealism that is evident through the eyes of both characters. Andreas approaches death not with fear, but with a
reaffirmation that love conquers all. Innocence closes with the triumphant majesty of a church organ that seems in
agreement with Claire's revelation of a peace that comes with the realization of true love. Cox captures something
here that most films could only dream about - a love that lasts forever.
© 2001 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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