Review of The English Patient (1996) by Cameron J — 03 Aug 2012

Wow, Kristin Scott Thomas is moving up in the world of royal titles, because she started out hanging out with Prince in "Under the Cherry Moon Tree", then went on to be somewhere in '95's "Richard III", which was about a duke, and now, she's in love with a full-on lord. Granted, this film came out almost ten years before Ralph Fiennes went Voldemort, but either way, I've got the feeling that Thomas is moving up in the world and will soon become a household name, thanks to this film. Oh no, I'm not speaking from the perspective of someone from 1996, I'm saying that this film will leave Kristin Scott Thomas to really take off in her career maybe in about 2013 or something, once everyone has finally finished watching this film and can start raving about her. No, this film isn't that long, but really, whether you're English or not, if you're an insomnia patient, then this film is for you. Okay, once again, I'm exaggerating, but really, if you want a really long, really English period piece drama that should have won Best Picture in 1996, then look for Kenneth Branagh's "Hamlet", and after that, a new job, because you're going to miss a couple of work days watching that film. Still, if you only want to miss one day of work, then this film is definately worth a shot, for although it is flawed, it is ultimately quite good indeed. Still, make no mistake, it is flawed, and if you're going to check it out, please heed this film's title's key word: patient.

Okay, again, perhaps the film isn't that dull, or even all that terribly overlong for that matter, yet it still remains overlong, nonetheless, going bloated through either too much material or too much meditation upon material, and in some cases, through even a degree of repetition. Now, the film isn't excessively bloated, yet it does drag on, and with the atmosphere drying up here and there, expect the film to find points in which it slow nearly to crawl as disengaging, or even kind of boring on occasions. Still, even with this film's dragging on, certain things need to be slowed down and meditated upon, as the film is all but devoid of immediate development, then proceeds go about business with exposition that is there, but generally limited, and while you do get used to this structure, there are points where the film gets to be too elaborately and messily structured, particularly when it comes to the flashback aspects, to the point of becoming rather confusing. Still, it's not like you can't figure out what exactly is going on, for although the film has its unique touches, much of the material presented in this film is rather familiar, as the film will dive into some cliches to go along with the dragging, rushing and altogether spotty story structure as a damage dealer to potential fulfillment, something that director and writer Anthony Minghella perhaps all too clearly wants unshaken. Michael Ondaatje's reportedly remarkable novel has been deemed by quite a few people as unadaptable, and almost as many people claim that this film transcended such a statement, yet there are still more than a few people who claim that this film, as expected, fell quite a distance short of potential, and really, I must say that I feel as though I belong in that camp, for although I haven't read a letter of the original source material, it's clear as day that this story is a strong one that deserves better than what Minghella is providing, and more of what Minghella hoped to provide. Minghella taints his vision with his own ambition, giving the film a kind of self-assured feel that takes you out of the final product, or at least when it's not the slowness, padding, conventions, faulty exposition and somewhat convoluted structure that leaves you to momentarily disconnect with the film, while leaving this film to fall short of what it could have been. However, what it ends up being is still very much a worthwhile watch that may run too long and too steadily, but stands as generally worth the effort, and for every fatal fault in the film, there is a strength that makes it genuinely good, particularly as an artistic piece.

Now, to be honest, stylistically, the film isn't especially outstanding, yet cinematographer John Seale delivers, at the time, remarkable work that remains still quite fine to this day, boasting a handsome in-between lighting that is consistently attractive, with bright moments that shine beautifully, as well as beautifully dark moments that supplement the grit of the film. However, the man who really breathes life into this project is the very man who holds it back, for although Anthony Minghella's overambitious and consiberably flawed storytelling taints his vision, the final product wouldn't be as good as it still is without Minghella's many moments of genuinely effective inspiration. The film's complexities are often structured messily in Minghella's screenplay, to the point of being rendered just plain convoluted, yet when Minghella, as director, lands a grip on the complexities, he makes sure that grip is firm enough to engage you into the layers of this grand and worthy story, and enhances such engagement value through imperfect, yet generally fine handling of such other aspects as romance, sweep and, of course, resonance. To me, the film isn't quite the emotionally moving experience many promised it to be, yet as things stand, Minghella manages to draw some immense dramatic depth that's often engaging enough for you to keep going, and sometimes - especially during the final act - all-out gripping, maybe not quite to where I found myself choking up, but definately to where I found myself momentarily forgetting about all of the faults in exposition and storytelling, and simply stood looking at a moving drama that still stood to be better, but had more than enough high points for me to ultimately go more rewarded than not, and for this degree of satisfaction, credit goes out to not only Minghella's direction and writing, but also to the performances. Some performances are better than others, and even some of your better performances go restrained, yet most everyone has his or her time to shine and makes that opportunity count, whether they're delivering on colorful charm and chemistry or dramatic depth, with the most relatively upstanding performances being by the leads. With an engrossingly mysterious presence, as well as some intensity once the mysteries within his David Caravaggio character begin to unravel, Willem Dafoe will occasionally steal the show, much like Juliette Binoche, who portrays her Hana character - one who faces tragedy in the beginning, uncertainty at the body and other life-altering experiences - with occasions of sweeping emotion, yet still much intensely subtle grace and depth that really captures your attention, while central focuses Ralph Fiennes and Kristin Scott Thomas both boast strong charisma and, at times, powerful emotion, layers and depth, and when they're together, sparks fly from their compelling and crucial chemistry. I wish the film was better, and lord knows that the film deserves to be better, so don't go in entirely sure that you're going to see in this film what the Oscars saw, yet if this film is your thing, then do go in expecting something truly rewarding, as the film remains graced with quite the collection of fine strengths that really do get to you on more than a few occasions, and on more than enough occasions for this film to ultimately come out standing strong as a worthwhile epic.

Overall, English or not, go in "patient", as the film drags on considerably - with a dry atmosphere making the slowness all the more stinging, to the point of rendering the film often disengaging and sometimes just rather dull -, yet not the expense of some rushing that leaves exposition a bit spotty, and complexities a touch too confusing, and with Anthony Minghella providing more than a couple of cliches in his writing, as well as much overambition in his direction, the final product emerges too scarred to fully fulfill its potential, yet still goes patched up more than enough to stand as rewarding, boasting a handsome style and strong story, brought to life by golden inspired moments in Minghella's direction and writing, as well as by a slew of fine and sometimes outstanding performances, thus leaving "The English Patient" to power on as a romantic, sweeping, compelling and altogether generally worthwhile epic, not necessarily Best Picture quality though, it may be.

3/5 - Good.