TWO DEATHS
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 5.5 Alternative Scale: ** out of ****
United Kingdom, 1995 U.S. Release Date: beginning Spring 1996 (limited) Running Length: 1:42 MPAA Classification: R (Nudity, sex, violence, mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Michael Gambon, Sonia Braga, Patrick Malahide, Nickolas Grace, John Shrapnel Director: Nicolas Roeg Producers: Carolyn Montagu and Luc Roeg Screenplay: Allan Scott based on the play by Stephen Dobyns Cinematography: Witold Stok Music: Hans Zimmer U.S. Distributor: Castle Hill Productions
TWO DEATHS, Nicolas Roeg's latest film, is positive proof, if any is needed, that a solid cast and fascinating conversations about provocative subjects aren't enough to guarantee a successful motion picture. TWO DEATHS ventures into the mine field of sexual obsession, humiliation, and degradation, and doesn't emerge unscathed. There can be merit in making a film about these subjects (see Peter Greenaway's THE COOK, THE THIEF, THE WIFE & HER LOVER), but when the storyline becomes as painfully contrived as this one, much value is lost.
The backdrop for this overplotted story is Bucharest in 1989, when the reign of Socialist dictator Nicolae Ceausescu came to a violent end. Pitched battles are being fought in the streets, with soldiers battling revolutionary students and each other. A city-wide curfew has been declared, and those who venture outside risk their lives For much of TWO DEATHS, this revolution adds color to the main story, which takes place entirely within a Bucharest mansion. Eventually, unfortunately, the outside violence spills into the house, resulting in several hard- to-swallow plot twists and an ending that is laughably over-the-top.
TWO DEATHS opens with Dr. Daniel Pavenic (Michael Gambon, who played an equally depraved role in THE COOK) hosting an annual reunion dinner party for old school chums. Although a dozen are invited, only three make it. Because of the violence outside, Pavenic's medical services are in demand, so he's late. While waiting for him, the others speculate about the identity of a woman in one of Pavenic's photographs -- is she his daughter, someone he killed on the operating table, or something else? The doctor arrives and dispels the mystery: she's Ana (Sonia Braga), his housekeeper and sexual slave. Also, in his own words, she's the woman he "chose to destroy."
This establishes TWO DEATHS' central mystery, and, while it's an intriguing one, the payoff is unsatisfactory. Not only does it seem to take forever for the full truth to be uncovered (there are numerous annoying interruptions in Pavenic's narrative as wounded requiring his attention arrive at the front door), but Ana's tale lacks the tragic depth we are led to expect. As TWO DEATHS evolves, we're afforded glimpses into the lives of Pavenic's guests, all of whom despise their host. Unfortunately, none of these people captures even a scintilla of our sympathy. In fact, there's no one who evokes a moment's compassion
The fascinating parts of TWO DEATHS are the discussions about love, obsession, lust, degradation, and perversity. What differentiates one from the other? How unusual is sexual obsession, and how does one exist when trapped by it? Is Pavenic evil or merely the helpless prisoner of his own towering desire? TWO DEATHS explores some compelling issues, although it rarely offers any new or groundbreaking viewpoints.
Gambon gives a persuasive and chilling interpretation of Pavenic: dry, world-weary, and self-deprecating. The offhand manner in which he describes his past actions would be horrifying if we cared anything about the participants. A performance like this deserves better material. Sonia Braga's Ana is completely indecipherable, which, I assume, is the intention. The supporting performers, including Patrick Malahide as an effete reporter whose marriage was ruined by Pavenic, are adequate, although not spectacular.
It's clear from the beginning that TWO DEATHS is based on a play -- confined in Pavenic's house, it's hopelessly stagebound, and the bizarre, jumpy structure (constantly interrupting the doctor's narrative) dispels the sense of claustrophobia that might have added some dark power to the contrived story. The shots of bloodshed in the streets are grimly effective, but these are always brief and often used merely as transition shots for the action within the doctor's domain. There are many possible interpretations for the title, but, in the end, the number of deaths is irrelevant considering that none of these characters ever seems really alive.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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