PLUNKETT AND MACLEANE (M). (Polygram) Director: Jake Scott Stars: Robert Carlyle, Jonny Lee Miller, Liv Tyler, Ken Stott, Michael Gambon, Alan Cumming, Michael Culkin.
When two 18th century highwaymen start plundering their way through London's upper class the first victim is historical accuracy, which seems to have been sacrificed in order to make this period yarn more appealing to a youthful audience. The script takes many liberties with the facts, while debut director Jake Scott (son of famed director Ridley) deliberately adds a number of contemporary trappings, including prolific swearing, some raunchy sex, generous dollops of violence, and a heavily techno- influenced music score from composer Craig Armstrong.
Plunkett And Macleane reunites Robert Carlyle and Jonny Lee Miller, two of the stars of Trainspotting, who play the highway robbers with an energy and humour that lifts the material. Carlyle seems to be enjoying himself immensely here as Will Plunkett, a notorious thief and crude outsider. He reluctantly joins forces with Captain James Macleane (Miller), a disgraced soldier, when they both end up in prison. Plunkett convinces the well-connected Macleane to use his charms to gain entry into the homes of London's wealthy and check for potential victims. As their crime wave increases, pressure mounts on the sadistic chief law enforcement official Chance (a suitably menacing and grim Ken Stott) to bring the pair to justice.
Liv Tyler may as well have phoned in her lines for all the impact she has on the film, trapped in a rather thankless role as the beautiful young Lady Rebecca, who falls for the handsome Macleane.
Scott brings plenty of energy to his first feature film, and Plunkett And Macleane maintains a reasonably cracking pace for much of its length. He gives the film a flashy visual style and a slick surface, that betrays his background in advertising and rock video clips. The tyro film maker shows that he has learnt a lot of his father's visual tricks and flair, but little of his meticulous eye for accuracy or period detail.
The production design is quite impressive, with Prague doubling for dingy 18th century London. But the film has primarily been shot in dark tones by John Mathieson, who prefers to use the sort of natural lighting that seems to have become popular in many modern movies. It may emphasise the shadowy mists and fogs of London, but it also makes it hard to discern what is happening, and strains the eyes. Plunkett And Macleane is ultimately let down by an overall superficial quality that suffuses the production.
This should have been a jolly old romp through the decadence, debauchery and corruption of Georgian England in the company of a pair of likeable thieves. Instead it turns into something of a misguided and disappointing mess, and its contemporary touches jar. ** greg king http://www.netau.com.au/gregking
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