The Reader
Kate Winslet finally achieved her first Oscar after multiple nominations for this film (an excellent performance, though I don't think any performance of the last few years can equal Melissa Leo in "Frozen River", which was also nominated), the story of a young German teen in the late 1950's who becomes involved with an older woman who insists he spend seemingly as much time reading to her as involved in any "romantic" activities. Years later, as a young law student, he learns that she was seriously involved in Nazi war atrocities and has to face serious questions about guilt and forgiveness.
I have to admit up front that I had a few problems and questions about the incredible swiftness with which Winslet and the boy fall into their relationship after they've barely said more than a few words to each other. But then, it is possible that the fact that what I know and understand about relationships multiplied by ten would still be virtually nothing, has something to do with this. It does still seem, though, as if it happens the way it does simply because the story demands it, and at least on Winslet's side I don't know that I was ever totally convinced (do you really keep calling your beloved "kid", even after he's a full grown adult?). However, what results from this relationship is powerful and emotionally potent, so it's not difficult to let it slide.
Not to insult Winslet's performance... it's fine... but I was rather surprised that neither Ralph Fiennes or the young actor who plays his character as a youth were singled out for Oscar attention. It's their combined efforts in the role that make for a lot of the impact the film has. Fiennes completely convinces you that he's the man his younger version would have grown up to be after the devastating events that change his life... never really sure who he can trust or believe in, and hesitant to invest too many of his emotions in anyone for fear the past will be repeated. And let's just not mention the irony of the fact that the role that brought Fiennes his first fame was that of possibly the most thoroughly evil nazi in all of the movies in "Shindler's List" (yes, let's not mention that at all... I'm certainly not going to. What? Oh well, never mind.).
What really makes the film linger after you've seen it, though, is the questions it raises about what you would have done in his situation after finding out the truth. Until very, very late in the film Winslet is remarkably unapologetic about the atrocities she took part in, and yet reveals herself in little moments to be just as human and full of doubts, fears and pride as the rest of us, and with just as much need to find human connection. So.. can you relate to someone who has committed the crimes she has even if she DOES express regret and contrition? Can you, possibly, find it in you to forgive her yourself? And WHATEVER your answer may be, what does that say about both her and yourself? In "Dead Man Walking", Sean Penn (who SHOULD HAVE won an Oscar for the role) raised some powerful questions about whether it's possible to empathize with a murderer while never condoning his crimes, and if it's possible to forgive... indeed, whether it may be NECESSARY to do so, even if it seems impossible. In "The Reader", Winslet and Fiennes will also make you wonder about these imponderables.
This is obviously not a movie for the escapist crowd. I'd even say it's maybe the complete antithesis of that kind of film. But it is a reminder of how much more a movie can accomplish that just provide a couple hours of escapist fun (not that there's anything wrong with that). It would be difficult going if all movies demanded as much from their audiences as this one, but moviegoing would also be much less interesting if there were never any films like "The Reader".
I have to admit up front that I had a few problems and questions about the incredible swiftness with which Winslet and the boy fall into their relationship after they've barely said more than a few words to each other. But then, it is possible that the fact that what I know and understand about relationships multiplied by ten would still be virtually nothing, has something to do with this. It does still seem, though, as if it happens the way it does simply because the story demands it, and at least on Winslet's side I don't know that I was ever totally convinced (do you really keep calling your beloved "kid", even after he's a full grown adult?). However, what results from this relationship is powerful and emotionally potent, so it's not difficult to let it slide.
Not to insult Winslet's performance... it's fine... but I was rather surprised that neither Ralph Fiennes or the young actor who plays his character as a youth were singled out for Oscar attention. It's their combined efforts in the role that make for a lot of the impact the film has. Fiennes completely convinces you that he's the man his younger version would have grown up to be after the devastating events that change his life... never really sure who he can trust or believe in, and hesitant to invest too many of his emotions in anyone for fear the past will be repeated. And let's just not mention the irony of the fact that the role that brought Fiennes his first fame was that of possibly the most thoroughly evil nazi in all of the movies in "Shindler's List" (yes, let's not mention that at all... I'm certainly not going to. What? Oh well, never mind.).
What really makes the film linger after you've seen it, though, is the questions it raises about what you would have done in his situation after finding out the truth. Until very, very late in the film Winslet is remarkably unapologetic about the atrocities she took part in, and yet reveals herself in little moments to be just as human and full of doubts, fears and pride as the rest of us, and with just as much need to find human connection. So.. can you relate to someone who has committed the crimes she has even if she DOES express regret and contrition? Can you, possibly, find it in you to forgive her yourself? And WHATEVER your answer may be, what does that say about both her and yourself? In "Dead Man Walking", Sean Penn (who SHOULD HAVE won an Oscar for the role) raised some powerful questions about whether it's possible to empathize with a murderer while never condoning his crimes, and if it's possible to forgive... indeed, whether it may be NECESSARY to do so, even if it seems impossible. In "The Reader", Winslet and Fiennes will also make you wonder about these imponderables.
This is obviously not a movie for the escapist crowd. I'd even say it's maybe the complete antithesis of that kind of film. But it is a reminder of how much more a movie can accomplish that just provide a couple hours of escapist fun (not that there's anything wrong with that). It would be difficult going if all movies demanded as much from their audiences as this one, but moviegoing would also be much less interesting if there were never any films like "The Reader".
posted by Joe Bunce at
11:04 AM
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