THE BROWNING VERSION
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (0 to 10): 6.6
Date Released: 10/14/94 (general) Running Length: 1:37 Rated: R (Mature themes, language)
Starring: Albert Finney, Greta Scacchi, Matthew Modine, Ben Silverstone, Michael Gambon, Julian Sands Director: Mike Figgis Producers: Ridley Scott and Mimi Polk Screenplay: Ronald Harwood based on the film by Terence Rattigan Cinematography: Jean Francois Robin Music: Mark Isham Released by Paramount Pictures
"THE BROWNING VERSION is the story of a man and his wife and the school--a triangle set in a beautiful prison. It is a film about a man finding the courage to transcend all the things in his life that conspire against him." - Mike Figgis, director of THE BROWNING VERSION
Call it Merchant/Ivory Lite. Mike Figgis' remake of the 1951 film (which, in turn, was based on a 1939 one-act play by Terence Rattigan) has the look and feel of something that the HOWARDS END producer/director duo is noted for doing. In fact, THE BROWNING VERSION has more than superficial similarities to last year's THE REMAINS OF THE DAY.
The title refers to Robert Browning's translation of Aeschylus' AGEMEMNON, a story which has both symbolic and concrete significance to the film's plot. AGEMEMNON happens to be the favorite tale of the main character, Andrew Crocker-Harris (Albert Finney). Through the years, his passion for this book, as well as for other classics, has kept him in teaching. Now, as a forced retirement (the result of failing health and perhaps a fossilized soul) approaches, he sees in his own life similarities to Agememnon's--most notably the faithlessness of his wife.
He has been married to Laura (Gretta Scacchi) for fifteen years, but it's been a long time since they have been happy together. She has entered into an affair with visiting American science professor Frank Hunter (Matthew Modine) while Andrew continues to ferret away his emotions. Despite a coldness that earns him a reputation as the "Hitler of the lower fifth," there is an occasional student that he makes an positive, lasting impression upon.
THE BROWNING VERSION does not lack substance, but it is somnolently-paced and goes virtually nowhere. Much of the character interaction is shallow and perfunctory, and almost all the subplots not directly connected with the main story are unappealing. Jean Francois Robin's exemplary camera work can't hide the script's basic deficiencies.
The greatest asset of THE BROWNING VERSION, and the man who singlehandedly rescues this plodding production, is Albert Finney. His is a performance to laud, even though it has no chance of a deserved Oscar nomination (too few people will see THE BROWNING VERSION). Like Anthony Hopkins in THE REMAINS OF THE DAY, Finney perfectly captures the frustrating essence of a repressed man with all of his pent-up emotion bubbling just beneath the surface. We in the audience have an irrational urge to shake Andrew until he acts.
Greta Scacchi is solid, although vastly overshadowed by her co-star. Unfortunately, the rest of the cast isn't as eye-opening. Matthew Modine is the personification of blandness and the venerable Michael Gambon is far from stellar as a stereotypical doddering headmaster. Julian Sands, in a small role as Andrew's replacement, is ineffectual enough to blend with the scenery.
Figgis is adept in fashioning several heartwrenching moments during THE BROWNING VERSION, all of which are lent their potency through the strength of Finney's acting. The climactic speech, which is meant to be cathartic, verges on a SCENT OF A WOMAN-like overkill. Figgis and Finney, however, manage to keep things barely on the right side of the "cornball" line, allowing the scene to accomplish what is intended.
Though set in the 1990s, THE BROWNING VERSION has the feel of a period piece. Without Albert Finney, no amount of upper class British posturing would have made a difference to the final product. With him, however, we are treated to a rare example of transcendent characterization--an individual who can make a mediocre motion picture worth a look.
- James Berardinelli (blake7@cc.bellcore.com)
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