THE WINTER GUEST
A Film Review by James Berardinelli
RATING: *** OUT OF ****
United Kingdom/United States, 1997 U.S. Release Date: 12/25/97 (limited) Running Length: 1:50 MPAA Classification: R (Profanity, mature themes, brief nudity) Theatrical Aspect Ratio: 1.85:1
Cast: Phylida Law, Emma Thompson, Gary Hollywood, Arlene Cockburn, Sheila Reid, Sandra Voe, Douglas Murphy, Sean Biggerstaff Director: Alan Rickman Producers: Ken Lipper, Edward R. Pressman, Steve Clark-Hall Screenplay: Sharman Macdonald and Alan Rickman Cinematography: Seamus McGarvey Music: Michael Kamen U.S. Distributor: Fine Line Features
Anyone who saw Alan Rickman's finely-realized performances in TRULY MADLY DEEPLY and SENSE AND SENSIBILITY will be unsurprised that the actor-turned-director is a bit of a poet at heart. However, for those who recall him only as the maniacal villain of DIE HARD and ROBIN HOOD: PRINCE OF THIEVES, this recognition may be something of a shock. Nevertheless, "poetic" is an excellent term to describe Rickman's feature debut as a director, THE WINTER GUEST. The film has a simple, unhurried rhythm that uses all of the available elements to fashion a successful whole. The result is an occasionally haunting, sometimes magical, and always insightful human drama. THE WINTER GUEST isn't about resolving plot threads and advancing a story line; it's about exploring relationships and examining life in all of its stages.
THE WINTER GUEST does not tell a traditional tale, nor does it ascribe to a conventional narrative structure – there is no real beginning or end. Instead, we are given an opportunity to observe one day in the lives of eight humans. They represent both sexes, multiple generations, and a variety of relationships – male and female; young, middle-aged, and elderly; friends, would-be lovers, and kin. We see expectations fulfilled and disappointed, emotional boundaries eroded, and truths unveiled. There is comedy and tragedy. Most importantly, much of what transpires during the course of THE WINTER GUEST will find an echo in our own lives – in this fiction can be found much truth.
The setting is small town in Scotland on the coldest day of the year. It's so frigid that the sea has begun to freeze over. The onshore wind cuts like a knife and snow blankets the beach, giving the terrain an alien appearance. It is against this backdrop that the relationships of the film are captured. There are four pairings, and, although there is some interaction between the different twosomes, THE WINTER GUEST's focus is on the dynamics internal to each relationship.
The first, meatiest pairing is that of Elspeth (Phylida Law) and her recently-widowed daughter, Frances (Emma Thompson). These two have a stormy relationship. They love each other deeply, but both are stubborn and willful, and neither is willing to admit that they need the other. Much of their interaction is argumentative, but, during the course of a long walk to the frozen shoreline, they come to an unspoken understanding of how much each means to the other.
Frances' adult son, Alex (Gary Hollywood), is a lonely young man who has been caring for his mother since the death of his father. On this day, he meets a girl, Nita (Arlene Cockburn), who has secretly been spying on him for weeks. Although their first encounter is antagonistic (she throws a snowball at him), both quickly become aware of an undeniable attraction. Once they retire to a place where they can be alone, however, things don't go exactly as planned.
Lily (Sheila Reid) and Chloe (Sandra Voe) are a couple of old friends who are frequent funeral attendees. Death is a topic of endless fascination for them, perhaps because they are so close to it, and they spend their spare time scanning the obituaries, looking for the next funeral or cremation in the area. It doesn't matter whether or not they knew the deceased. It's the ceremony that they're interested in.
Sam (Douglas Murphy) and Tom (Sean Biggerstaff), a pair of schoolboy chums, are spending this cold February day cutting classes and hanging out at the beach, horsing around, building a small fire for warmth, and walking on the frozen water. Unlike Lily and Chloe, these two have their entire lives ahead of them. They are young enough to still believe in magic, but old enough to recognize that the process of crossing into adulthood robs life of the simple joy that only children can experience.
The acting is strong and believable. The mixture of veteran performers and first-timers is effective, with the most successful choice being the casting of real-life mother and daughter Phylida Law and Emma Thompson in the most prominent roles. There is a chemistry in their interaction that would be hard to replicate with two different, non-related actors. And, of course, the physical resemblance makes it that much easier to accept Elspeth and Frances as parent and child.
THE WINTER GUEST began its life as a stage play in 1995, with Rickman as the director. Four of the film's principals, Phylida Law, Arlene Cockburn, Sheila Reid, and Sandra Voe, appeared in the theatrical version before moving to the film. Unlike several recent motion pictures adapted from plays, THE WINTER GUEST has been successfully opened up. The rough, bleak Scottish countryside becomes as much of a character as any of the eight humans. In fact, considering how important the climate is to every relationship under Rickman's microscope, it could be argued that this is the single most important element of the movie. If you appreciate character studies, THE WINTER GUEST is a solid effort with enough power to stay with you after you have left the theater.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net
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