ETERNAL BEAUTY – movie review
Samuel Goldwyn Films
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Craig Roberts
Writer: Craig Roberts
Cast: Sally Hawkins, David Thewlis, Billie Piper, Penelope Wilton, Alice Lowe, Robert Pugh, Morfydd Clark
Screened at: Critics’ link, NYC, 8/22/20
Opens: October 2, 2020
“How are you?” says the psychiatrist (Boyd Clark). “Fine,” replies Jane (Sally Hawkins). “Fine or good?” “Good.” This dialogue occurs session after session as the doctor examines the patient, diagnosed twenty years back as schizophrenic. Later, Jane, recalling her sessions with the shrink asks a photographer, “How are you?” “Normal,” he says. “Boring,” says Jane. Her sister had told her that being normal is difficult. So this movie is about how schizophrenics can have more fun than people who are considered everyday-normal, and mirabile dictu, by the end of the film, you are convinced that Jane, notwithstanding an upbringing by a mean-spirited mother Vivian (Penelope Wilton) and passive father Dennis (Robert Pugh) is happier than most of us. Or at least the most of us who are normal.
In his sophomore offering writer-director Craig Roberts whose “Just Jim” portraits the relationship of a Welsh teen with an American neighbor possesses the soul of a person not content to knock out a normal movie but more interested in the inner life of a schizophrenic, in no way dangerous or likely to be mumbling, homeless, on a New York City street. The surrealism is tailor-made for Sally Hawkins, who, in one of her crowning roles in “The Shape of Water” as Elisa Esposito, a janitor in a research facility with a special relationship to a giant laboratory fish, evoked the joke by a TV film critic, “Are men so bad nowadays that a woman has to date a fish?”
Playing the role chiefly as often zonked but as a woman with the vivid imagination of a mentally unbalanced person, Jane appears in virtually every scene, though often as the younger, twenty-something girl (Morfyedd Clark) whose diagnosis takes place at about the time she was stood up at the altar. We can understand that twenty years later, the voice she hears in her head most prominently is that of the boyfriend Johnny (Robert Aramayo), without an explanation for his caddish treatment but now expressing deep love and a desire to see her again.
One day in the hospital, she meets fellow unbalanced Mike (David Thewlis), and voilá, too nuts “find” each other. Leave it to Jane’s mean sister Nicola, just suffering from the loss of a rich boyfriend Lesley (Tony Leader), to try to ruin Jane’s relationship, driving her back to the hospital.
Perhaps the funniest scene occurs at a Christmas gathering with her sisters Alice (Alice Lowe) and Nicola (Billie Piper). Jane distributes gifts which as usual nobody likes. She presents receipts and expects them to pay her back.
This is a frothy comedy about people who look laid-back, but with spurts of enthusiasm like those of the excitable Michael, expecting to get a gig and pay Jane back for staying at her digs. Director Roberts plays up the surrealism by showing Michael on stage singing with his electric guitar and by repeated images of the younger Jane in her wedding dress clueless about what will soon come. The expertly done color palette mirrors Jane’s feelings throughout as does a multiplicity of Sally Hawkins’s facial expressions. Hawkins is in her oils.
Kit Fraser films in various locations in Wales.
94 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – B
Acting – B+
Technical – B
Overall – B