RESTORATION
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.5 Alternative Scale: *** out of ****
UK/US, 1995 Running Length: 1:57 MPAA Classification: R (Sex, nudity, plague) Theatrical Aspect Ratio: 1.85:1 Theater: AMC HQ 10 2/2/96, 5 pm
Cast: Robert Downey Jr., Sam Neill, David Thewlis, Polly Walker, Meg Ryan, Ian McKellan, Hugh McDiarmid, Hugh Grant Director: Michael Hoffman Producers: Cary Brokaw, Andy Paterson, and Sarah Ryan Black Screenplay: Rupert Walters based on the novel by Rose Tremain Cinematography: Oliver Stapleton Music: James Newton Howard U.S. Distributor: Miramax Films
The setting for RESTORATION -- England in the 1660s -- represents one of the most interesting eras in European history. Following the death of Oliver Cromwell, Charles II returned from exile to reclaim the throne for the Stuart family. His coronation heralded the Restoration - - a time of great enlightenment and debauchery. Then, in 1665, the Great Plague struck, and in 1666, London burned. The film RESTORATION attempts to incorporate all of these events into its two-hour story. Those hoping for historical accuracy will be sorely disappointed, however. The 1660s serve as little more than a backdrop for the action. The costumes and sets are authentic-looking, but little else has more than a flavor of the period. Even the dialogue is frequently anachronistic.
Historical authenticity aside, RESTORATION is still a worthy source of entertainment. The narrative has numerous dramatic hiccups -- most caused by trying to cram too much into too little time -- but, overall, it tells an engrossing tale. The film, which opens in 1663 London, follows the rise and fall of Robert Merivel (Robert Downey Jr.), a reluctant physician. Despite his undeniable medical gifts, he would rather spend time drinking and whoring. When King Charles II (Sam Neill) needs someone unconventional to heal his ailing dog, he sends for Merivel. The animal's recovery assures the doctor a place at court, where he is gradually transformed from physician to fool.
One of the most unusual services demanded of Merivel by the King is that he marry the royal Mistress, Celia Clemence (Polly Walker). The doctor is told in no uncertain terms that the marriage is never to be consummated -- it is in name only ("I need a man far too enamored of women in general to love one in particular," Charles tells Merivel). Unfortunately for his status at court, Merivel falls for Celia, and when the King learns of this, he dispatches Merivel from his service. The now-penniless physician ends up in a Quaker community with an old friend (David Thewlis). It is there that he discovers the true nature of his talents.
RESTORATION is developed as a series of episodes which combine to form a story arc taking Merivel's character from debauchery to poverty to redemption. The "restoration" of the title is as much the central character's as it is England's. Flaws aside, the film is a sumptuous, affecting tale about the most roguish of men making good. And, despite assorted tragedies along the way, the tone and intent are decidedly upbeat.
One of the problems with RESTORATION is that it moves too many characters through Merivel's life. Other than David Thewlis' effectively-rendered John Pearce and Ian McKellan's Will Gates, none of them displays much personality -- they're gone too quickly. Each adds something to Merivel's character, but as individuals in their own right, they fade into the background, no more memorable than the wild colors with which the doctor decorates his Suffolk estate.
Robert Downey does a fine job as Merivel, and his English accent rarely slips. During the '90s, Downey has emerged as an admirable leading actor. His performance as Chaplin in Richard Attenborough's 1992 biopic put him in the spotlight; everything he has done since has furthered his reputation. Of late, Downey seems to have developed an affinity for period pieces. Other than RESTORATION and the aforementioned CHAPLIN, he can also be seen in the new version of RICHARD III.
The rest of the cast is impressive. In addition to McKellan and Thewlis, Sam Neill, Polly Walker, and Hugh McDiarmid turn in effective supporting performances. Hugh Grant has a small role as a fatuous, self-important painter. Meg Ryan, moonlighting from frothy romantic comedies like IQ and FRENCH KISS, is barely adequate as Katherine, the madwoman who captures Merivel's heart.
As a well-developed, fast-paced movie that tells a "feel good" story, RESTORATION is a welcome entry. As a history lesson, it's a failure. The British are famous for their period pieces, and, while RESTORATION isn't among the best (all of Jane Austen's adapted novels are superior), it's still solid entertainment, especially in a season when Hollywood's releases are repeatedly causing grimaces.
- James Berardinelli e-mail: jberardinell@delphi.com, berardin@bc.cybernex.net web: http://www2.cybernex.net/~berardin
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