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The Shape of Things 2003 |
Review by Jonathan Cornwell |
Directed by Neil LaBute
R, 97 min. (language, sexuality) |
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Starring: Paul Rudd, Rachel Weisz, Gretchen Mol, Frederick Weller
Producers: Neil LaBute, Gail Matrux, Philip Steuer, Rachel Weisz
Screenplay: Neil LaBute
Cinematography: James L. Carter
Distributor: Focus Features
Released: 5.09.03 (Limited) |
Rating:
 (out of ) |
The Shape of Things is the latest installment from Neil LaBute that portrays men and women as adversaries rather than
allies through life's numerous relationships. In LaBute's masterpiece, In the Company of Men, a ruthless corporate
man destroys a woman's fragile psyche just for kicks. And here LaBute has something say about a woman's attitude
toward men. Let's just say cruelty works both ways. The Shape of Things is based on a stage play directed
by LaBute and performed by the actors in this film, and is now converted to the big screen with little difficulty. Although his
scenes are stage-like, Labute takes great care to emphasize the characters' words and expressions despite their surroundings.
The usual scenes of lengthy dialogue and in-depth character studies are on hand as well; LaBute frames his scenes simply and candidly.
To say his worldview of human relationships is bleak or cynical would be an understatement; LaBute portrays men and
women at their worst and most calloused state of being without violence. The people that lay in the wake of his
morally ambiguous characters can attest to that.
After a brief departure into the mainstream with two films (Nurse Betty, Possession) that proved his ability to mesh
art house sensibility with cineplex attraction, LaBute has returned to the realm of negativity and cynicism that marked
Men and the ultra-bleak Your Friends and Neighbors, which unveiled a character so cruel that one could
hardly believe it. With The Shape of Things, LaBute has taken a slighty different approach, portraying his characters as
the everyday man and woman, until one emerges as the conscienceless manipulator. Their relationships seem on the surface
positive and caring, but it's not long until the veil is lifted, revealing the true nature of the people involved in them. And, of
course, the concluding scenes are as astonishingly blunt as they are gut-wrenching for the victim.
The story centers on four college students. They are Adam (Paul Rudd), a shy nerdy-like museum guard, Eveyln (Rachel Weisz),
an art student intent on creating the ultimate work of art, and Phillip (Frederick Weller), Adam's ex-roommate and obtuse fiance to
Jenny (Gretchen Mol), a warm-hearted girl with hidden feelings. When Adam catches Evelyn about to deface a statue of Zeus, she
convinces him to let her walk away and eventually the two become involved intimately. But while Phillip instantly dislikes her,
Jenny is curious as to why Adam would be attracted to someone so unlike himself. It's not long before Adam begins changing -
his wardrobe, appearance, weight, and cosmetic surgery follow, turning him into almost different person. He also changes
internally, from an inward reticent to outgoing optimist. But there's something just not quite right about Evelyn's influences.
LaBute's films usually make the viewer question how a person can trust anyone, let alone become emotionally entangled
with. Even his most caring characters are made to ask the tough questions about the opposite sex, leading to a
hesitance that undermines future relationships. The power of his films come from the unblinking bluntness and deviously-chosen
words that pepper the conversations between his characters. This is no tea party. Characters leave others stranded in
disbelief, blindsided and devastated by the willingness of another to behave so badly only to make a point. It makes one wonder what
type of relationships LaBute himself has been exposed to. But then again, this film is so precise and honest in its viewpoint
that it's hard to argue with his characters - they're only doing what comes natural to each of them.
The Shape of Things is a strong argument for the motto "If it's too good to be true then it probably is." LaBute is
all too eager to reinforce that sentiment. His cast is obviously experienced with the material, and Rudd makes for a good
choice to makeover a character. Weisz is given maybe the most meaty character of her career, and she does a fine job
of convincing us that some people have ice water in their veins. Weller and Mol provide strong support as people who take
different routes to arrive at the same conclusion in regards to Evelyn's makeover of Adam. These actors are comfortable
and at ease in their roles, not surprising considering their vast knowledge of them.
It's significant that LaBute chooses to conclude his films on such unsympathetic notes. The lack of catharsis for the audience
is meant to stimulate discussion and let the viewer remain in the moment for as long as possible. Since there is no reprieve
from the material, the viewer is left with only thoughts of how he/she would have reacted to such a situation in his/her own
life. It's to LaBute's credit that The Shape of Things isn't so much about the actual shapes or personalities of those we care for,
but whether or not we're able to completely entrust our innermost secrets to them. LaBute's films are kind of like a warning
to the more naive parts of our psyche.
© 2003 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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