Tilda Swinton

THE ROOM NEXT DOOR: Tilda and Julianne, life and death

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Photo caption: Tilda Swinton and Juianne Moore in THE ROOM NEXT DOOR. Courtesy of Sony Pictures Classics.

Pedro Almodóvar’s The Room Next Door is about the reconnection of two friends at a highly charged moment. Decades before, Martha (Tilda Swinton) and Ingrid (Julianne Moore) were running and gunning together in Manhattan, even dating the same guy (not at the same time). Each moved on to a successful career elsewhere – Ingrid as an author based in Europe and Martha as a war correspondent in the Balkans and Middle East. Ingrid returns to NYC on a book tour, and finds that Martha is hospitalized with stage 3 cervical cancer.

Martha undergoes an experimental treatment which seems to work, until it doesn’t. Martha has faced death many times in wars. She accepts her own mortality, but wants to avoid the indignity and suffering of her final weeks, and she wants to go out before experiencing happiness becomes impossible. But Martha doesn’t want to be alone, and her adult daughter is estranged.

Martha asks Ingrid to join her at a rented house in the woods, knowing that, on one night, Martha will end he own life. Not incidentally, Ingrid’s latest bestseller is about her own fear of death. Nevertheless, Ingrid agrees.

Remarkably, given the situation, The Room Next Door is not depressing. It’s absorbing, and even funny in places. The old boyfriend (a very funny John Tuturro), who both women remember as particularly zesty, is now a climate disaster Gloomy Gus, now essentially a public scold. Inrgid and Martha curl up on the couch to enjoy Buster Keaton’s hilarious Seven Chances.

We learn the back story about the father of Martha’s daughter, and more about Martha and Ingrid. Ingrid (and we the audience) wait on tenterhooks for Martha to implement her plan.

Of course, Moore and Swinton are two of cinema’s most talented actresses, and their performances are exquisite. Swinton even plays a second character.

We expect any Pedro Almodóvar film to be visually lush, with stellar performances from actresses, and The Room Next Door is certainly that. I never lost interest, but the work doesn’t rise to the level of Almodóvar’s masterpieces Talk to Her and Broken Embraces. .

This is Almodóvar’s first film in English, and he wrote the screenplay in English, evidently without enough collaboration. Hence, the dialogue is not as natural as if two native English speakers were conversing – sometimes a little stilted.

Although the core story about Martha and Ingrid is compelling, there are some extraneous distractions. I understood that a flashback from Martha’s wartime experiences is designed to tell us something about her, but it isn’t worth the time away from the main story. The same holds true when a cop tries to make some trouble for Ingrid; although very well acted by Allessandro Nivola, that thread doesn’t go anywhere (as it wouldn’t have in real life).

The Room Next Door is ever visually beautiful, with lots of Almodóvar’s favorite color of red. Almodovar takes full advantage of his leading ladies’ striking hair and graces them with vivid lipstick and fashion. He even gets to set ablaze a house on the prairie, just like the one in Terence Malick’s Days of Heaven

The Room Next Door, although not an essential film, still offers the mastery of Tilda Swinton and Julianne Moore, in a story of life and death.

THE ETERNAL DAUGHTER: consumed by mom

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Photo caption: Tilda Swinton in THE ETERNAL DAUGHTER. Courtesy of A24.

The Eternal Daughter begins with the filmmaker Julie (Tilda Swinton) bringing her elderly mother (also Tilsa Swinton) for a getaway at an Welsh country hotel. It’s an enormous, sinister-looking edifice, a Victorian building of Gothic design. When the building creaks and goes bump in the night, mysterious figures appear at windows and there’s knocking from supposedly unoccupied rooms, The Eternal Daughter has all of the trappings of a haunted house movie.

Mom and daughter appear to be the only visitors, although hotel staff insists otherwise. They are at the mercy of the hotel’s receptionist/manager/server (Carly-Sophia Davies), who, to a hilarious extent, could not be any more disinterested in her guests’ happiness ,comfort or approval.

Julie’s experience at the hotel is one of persistent dissatisfaction. She wants to work, but the only WiFi signal is three floors above their room, and she has sporadic cell phone service only in one special spot outside. Her requests to get the room they actually reserved and the expected amenities are stonewalled by the receptionist.

Her hot button, however, is that she doesn’t feel that she is bringing her mother any happiness. It turns out that this trip is a birthday treat for her mother, who had stayed in this house as a child during WW II. The mother is serene and uncomplaining, except to object to Julie “fussing” over her. Julie has microplanned every detail, down to lighting the candle on the mom’s birthday cake, but Julie doesn’t think she is doing anything right.

What’s going on in this slow burn? It turns out that writer-director Joanna Hogg isn’t taking us to a haunted house or to a comedy of manners in a bad hotel. This is a psychological drama. Julie is haunted, alright, but it’s by her relationship with her mother, which she’s having a very hard time figuring out.

Joanna Hogg is a veteran director who got the chance to become an auteur at age 59, beginning in 2019 with The Souvenir and The Souvenir Part II in 2021.The Eternal Daughter is the third of these highly personal, apparently autographical films, with the Julie character as Hogg’s alter ego. In those films, Julie was played by Honor Swinton Byrne (Tilda Swinton’s real life daughter) and Swinton played Julie’s mom.

All three films are personal, as in specific and decidedly NOT universal. Although I am generally not a fan of naval-gazing, Hogg’s genius as a filmmaker is such that The Eternal Daughter and its siblings, slow burns all, are mesmerizing.

THE SOUVENIR: amplification by stillness

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Honor Swinton Byrne and Tom Burke in THE SOUVENIR

The slow-burn romantic tragedy The Souvenir is a study of a bad romantic choice, exacerbated by co-dependence.

In the 1980s Thatcher Era UK, Julie (Honor Swinton Byrne) is a 24-year-old Ken Loach wannabe trying to make her first socially aware film. She’s from a middle class background and has a set of artsy friends. She meets Anthony (Tom Burke), who affects the chalk-stripe pinstripe suits and the bored drawl of the upper classes, and says that he works at the Foreign Office. She is intrigued.

It’s an unusual courtship. He takes her to a stupefyingly posh tearoom. They visit an art gallery and deconstruct the Fragonard painting The Souvenir. But are these dates? Kinda dates? She lets him crash at her place. All of this precedes any physical intimacy or hint of passion. He wants her, but never pushes the pace. They do become lovers, and it turns out that he is not as he seemed. (Kudos to the trailer below for NOT spoiling Anthony’s biggest secret.)

This is a remarkable piece of filmmaking. Writer-director Joanna Hogg frames each shot exquisitely, and lets the characters’ feelings unspool before us. This is a movie with lots of stillness, and the stillness serves to amplify the emotional power.

This is the first feature film performance as an adult for Honor Swinton Byrne, the daughter of Tilda Swinton. Byrne is superb as Julie, whom we care about because she is so genuine and vulnerable. This is also the first time I’ve seen Tom Burke, and he is excellent as a quirky guy who might really appeal to some woman, but who can’t escape his fatal flaw. Tilda Swinton appears in the supporting role as Julie’s protective mom, and nails the character.

Joanna Hogg, just like her Julie, was a young British filmmaker in the 1980s, and this story seems searingly personal. I don’t know to what extent it is autobiographical, but the heartbreak is so powerfully vivid, that I hope Hogg didn’t have to endure it in real life. There’s a sequel already in post-production.

The Souvenir is universally acclaimed by critics and has a Metacritic score of 92. I admired the film and the filmmaking, but was not engrossed; most viewers will find the deliberate pace makes The Souvenir a challenging watch for one hour and 59 minutes. It certainly is the most profoundly sad film of the year. It can be streamed on Amazon, iTunes, Vudu, YouTube and Google Play.

A BIGGER SPLASH: another exercise in sensuality

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Ralph Fiennes and Tilda Swinton in A BIGGER SPLASH
Ralph Fiennes and Tilda Swinton in A BIGGER SPLASH

Harry Hawkes (Ralph Fiennes) is the kind of guy who gives a bad name to joie de vivre.  The ultimate disrupter, his gift is to seize all the attention, change any social situation into a party and take everyone else out of their comfort zones.  In A Bigger Splash, he inflicts himself on his former rock star lover Marianne (Tilda Swinton), who is trying to enjoy a quiet romantic respite with her current lover Paul (Matthias Shoenaerts) on the secluded Italian island of Pantelleria. Enter Harry, exit solitude.

With only five minutes notice, Harry shows up, expecting to become a houseguest in Marianne and Paul’s  borrowed villa.  To make matters worse, Harry brings along his newly discovered daughter (Dakota Johnson), a highly sexual nymphet with eyes for Paul.  And, and the first day, he invites two of his other friends to join them.  Harry repeatedly tears off his clothes, starts everyone dancing (one of his dances is right up there in cinema history with the one in Napoleon Dynamite) and even turns a village cafe into an overflowing karaoke after-party.  Because Marianne is recuperating from vocal cord surgery, she can’t talk, which makes Harry’s social intrusions even more unbearable.

Harry’s antics are very entertaining, and we watch with apprehension for the other shoe to drop – when are the others going to explode in reaction?   Harry is also trying to insinuate himself back into Marianne’s bed, an intention apparent to the hunky/dreamy Paul, for whom still waters run deep.

This is Guadagnino’s first English language movie.  He had a recent US art house hit with I Am Love, (also starring Swinton).  I Am Love was notorious for its food porn, and there are tantalizing scenes in A Bigger Splash, too, with homemade fresh ricotta and a spectacular outdoor restaurant set amid hillside ruins.

Guadagnino’s greatest gift may be the sensuality of his films.  Whether it’s food, a place or a social situation, he makes the audience feel like we’re experiencing it right along with the character.  In A Bigger Splash, we start out as tourists in a hideout for the super rich, and then Guadagnino takes to us through a raucous comedy of manners to, finally, a suspense thriller.

This week's Movies To See

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Gene Evans in Sam Fuller's The Steel Helmet

 

Click here for this week’s recommendations.  Scroll down this blog to watch trailers.  My top recommendations are Toy Story 3, The Secrets in their Eyes (El Secreto de Sus Ojos), Micmacs and Iron Man 2. You can still find The Girl with the Dragon Tattoo in theaters.

My top picks on DVD is The Deep End. Last week’s pick, Stranded: I’ve Come from a Plane That Crashed on the Mountains and The Messenger are also good choices on DVD.

To Kill a Mockingbird and The Steel Helmet are on TV.

DVD of the week: The Deep End

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Tilda Swinton was so good in I Am Love, the movie I panned this week, that now I’ll plug The Deep End.  This 2001 thriller stars Swinton  as a Lake Tahoe mom who must cover up a crime to protect her teen son.  Then ER heartthrob Goran Visnjic shows up to blackmail the family.  The more the situation spirals out of control, the more gripping Swinton’s performance.

I Am Love

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I Am Love (Io sono l’amore) – the operatic tale of the family of a zillionaire Milan industrialist and how each family member seeks happiness – is less than the sum of its parts.  The movie has many successful components: another fearless performance by Tilda Swinton, searing love scenes, and some nice small touches in the screenwriting (an aristocratic family’s treatment of the new wife during a tragedy, the re-taking of a man’s suit coat, among others).  But the soundtrack’s musical crescendos at the most emotionally charged moments are too distracting, as are the over-the-top plot points in the third act.  And the character of the favorite son is written to be impossibly sweet and naive.  Marisa Berenson (whose career has been pretty quiet since 1975’s Barry Lyndon) is excellent in a small role.

There is some mouth-watering food porn (especially the glazed prawns); if this movie could generate a wider audience, the line “I made your mother prawns” would become a catch phrase, as in “I made your mother prawns and we hiked the Appalachian Trail”.

The film making is described in the New York Times.