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Possession 2002 |
Review by Jonathan Cornwell |
Directed by Neil LaBute
PG-13, 103 min. (sexuality, some thematic elements) |
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Starring: Gwyneth Paltrow, Aaron Eckhart, Jeremy Northam, Jennifer Ehle, Toby Stephens, Lena Headey
Producers: Paula Weinstein, Barry Levinson
Screenplay: David Henry Hwang, Laura Jones, Neil LaBute
Distributor: Focus Films
Released: 8/16/02 (Limited) |
Rating:
 (out of ) |
At first it may seem strange that Neil LaBute, who is responsible for the masterpiece In the Company of Men and the overlooked
Nurse Betty, would direct Possession, a film about two distant relationships brought together by a love of poetry.
His previous efforts were about sexual dominance and imaginary love, but here we find that he has talent for crafting a
soporific storyline into an intriguing examination of the wide-reaching effects of unrequited love. LaBute carefully balances
two distinct yet similar relationships with different styles and perceptions, but reaches the same satisfying conclusion in
both of them. The film is about taking a chance on love by putting intellectualism and hesitancy aside, exposing one's
insecurities in return for companionship.
Roland Michell (Aaron Eckhart), an American researcher working for a British scholar in London, discovers a letter written by the
famous poet Randolph Henry Ash (Jeremy Northam) that is addressed to Christabel LaMotte (Jennifer Ehle), another unknown poet that
is not his wife. Realizing its importance, he takes the letter to be examined by Maud Bailey (Gwyneth Paltrow), a distant
relative of Christabel and expert on Ash's work. Intrigued in the letter, Maud and Roland begin a vigorous investigation
into the secret relationship between Ash and Christabel, while finding themselves becoming close in the process. As they
learn of each new detail, the film shows the Ash/Christabel relationship as it occured in the 19th century.
LaBute shows great dexterity in portraying two relationships and their struggles in two distinct time periods, each with its
own set of societal demands and limitations. It's interesting to see Ash and Christabel clash on occasion over the same
fear of intimacy that hinders Maud and Roland in modern day England. Ash and Maud are similar in their intense love
for their work and those they are attracted to, while Christabel and Roland are more hesistant and unassuming in their
intentions before submitting to their desires. The question the film seeks to answer is whether the mistakes of Ash
and Christabel will be repeated in the promising relationship between Maud and Roland.
Possession's cinematography is certainly a strength, as it should be considering that its material involves the wiles of
poetry and the imagery it imparts to the viewer. Whether it be the glowing solemnity of the countryside in old England or
the bustling nature of the modern day, the film entices the audience to engage with its characters despite a few scenes
that seem to drag. And, of course, LaBute makes good use of poetry to connect his disparate relationships and their
reluctant feelings. Also, LaBute flawlessly executes the transition between the time periods, as evidenced by the similar
conversations that take place at the same locations, separated by 140 years.
The cast is solid. Eckhart, who has become LaBute's actor of choice, provides a nuanced effort for a character that strains
credibility at times. Paltrow effectively portrays the conflicted nature of Maud's fragile work vs. relationship psyche, lending
more than just a pretty face to the proceedings. And the always reliable Northam plays Ash with aplomb, providing the
necessary seductive suavity that Ehle latches onto in her interpretation of Christabel's cautious emotions.
It's worth mentioning that LaBute has not made a bad film; in fact, all of his films are well made with acute perception
of how his characters and material blend to form the best possible storylines. He has a talent to capture those intimate
moments between people that walk a fine line between forced melodrama and authenticity, resulting in a realism that
can jolt the average moviegoer into further investigation of his finely tuned work. Possession is that type of film, enchanting
in the way its images leave a lasting impression on those who see them.
© 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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