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A Good Woman Review At Amazon.

December 18, 2009

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Is there such a thing as a poor movie made in Italy? Probably, but at least the scenery’s usually excellent. I can’t imagine A Profitable Woman working in a setting like Original York or London, but I don’t have to. It’s site in 1930’s Amalfi, the perfect background for a memoir like this one. Professional mistress Mrs. Erlynne flees to Italy when too many wives are on to her at home. On the ship, she notices a newspaper photo of a young couple, and she knows exactly what her next travel should be. The young wife is innocent and naive, and all sorts of innuendo and gossip go flying around Amalfi that season.

This is a woman’s portray, and Helen Hunt as the adventuress has never looked more pretty. Her utter, unfortunately, is rather too clipped and less sultry than it need to be, but in the waste, she pulls of her role. Scarlett Johanssen is well-suited to her character, and both women turn out to be more than they seem at the raze. Heavenly wardrobe, very subtle music, and a graceful performance by Tom Wilkinson, as a jaded, expat Brit who has learned a shrimp something about reality and happiness, add to the success of this production.

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I’m now off to read the Oscar Wilde unusual.

Some people like to skydive or rock climb for adventure. I must admit, at this stage in my life, adventure (for me) is jumping into a movie that I know absolutely nothing about and hoping for the best. Audacious, huh? Such is the case with the vaguely titled “A Qualified Woman.” I knew it starred Helen Hunt, Tom Wilkinson and Scarlett Johannson–and that was enough to lead me on the “adventure” of discovering this film. Imagine my surprise, then, (about a third of the plan through) when a character named Windermere was purchasing a fan for his wife–and I suddenly realized I was watching a queer modernization of Oscar Wilde’s classic play aptly entitled “Lady Windermere’s Fan.” I felt radiant foolish, I must admit–but I don’t entirely blame myself.

Instead of the claustrophobic drawing rooms in 1890’s England, “A Ample Woman” is fashioned in Italy of the 1930’s (an unusual choice considering the political climate at the time–which is conveniently never mentioned) . The Windermere’s are now Americans. And what was once Wilde’s comedy of manners has become a rather stilted drama with occasional one-liners that fans of Wilde’s works will observe. I certainly have no plight with re-imagining a classic work, such as this. But “A Fine Woman” keeps the storyline of “Lady Windermere’s Fan” while jettisoning the elements that originate it an effective social commentary. The intimate settings of the play build a world where gossip is an critical fraction of daily life, the cross interactions are all anyone have to fill their time. By opening things up to the Italian countryside, this seems to be less relevant. It’s as if the necessary characters are engaged in a different movie from the supporting players who perform mockery of them.

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“A Generous Woman” tells the memoir of Mrs. Erlynne (Helen Hunt), a seductress that has made a career of manipulating the egos of wealthy men. After being chased from American society, she settles in Italy where her path crosses with a young aristocrat named Windermere and his bride (Johannson) . Windermere’s relationship with Mrs. Erlynne sets the tongues wagging. It’s best not to thunder too remarkable of the situation for those strange with the play–but again, the film’s screenplay loses mighty of Wilde’s language, toddle, and intricate comedy. Only the talented and British supporting players, led by the sublime Wilkinson, seem to be trying to acquire Wilde’s spirit.

Still, this is a resplendent production. But no amount of lush scenery and radiant costuming can conceal the film’s truly fatal flaw. No offense to Helen Hunt, or her fans, but her interpretation of Mrs. Erlynne leaves distinguished to be desired. With a stilted cadence to her speech and a pinched expression, Hunt never convinces us that she could be the irresistible creation that she needs to be. Johannson is somewhat vacant in her role, as well, but that is better disguised by her character’s naiveté. It is Wilkinson, in particular, that completely saves this production. With grand needed humor and charm, “A Sterling Woman” is inexplicably salvaged by a man! While this isn’t bad by any stretch, it’s unlikely to send novel viewers to gawk out the works of Oscar Wilde–and that’s a actual disappointment. KGHarris, 03/07.
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