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‘Elegy’ fits its title
Unfortunately it never overcomes its lethargy
By Danielle Stevens
The film is rife with a limpid, languid background of dark lighting, drab colors and fuzzy cinematography. That, combined with the sporadic use of subtle piano music, gives the film a subdued, dreamy quality… not in a “Lost in Translation” kind of way…but rather in a boredom-inducing way.
The dictionary definition of an elegy is a “mournful, melancholy or plaintive poem.” The term fits quite well to describe a new film named for it. Yes, “Elegy” is the perfect title for a mournful, melancholy and plaintive movie like this one.
Directed by Isabel Coixet (“My Life Without Me“) and adapted from Pulitzer-Prize winner Philip Roth’s novel “The Dying Animal,” the film is an intensive character study of an aging playboy professor of cultural criticism, David Kepesh, played by Ben Kingsley.
Kepesh is a celebrity in the academic world, teaching to a large lecture hall of fawning students, writing books, being interviewed by Charlie Rose and hosting a book review radio show. We quickly learn, however, that he is a lonely man, growing increasingly concerned with his age and how it will influence the rest of his life, notably his casual sex life involving young students.
His latest interest is a Cuban woman named Consuela (Penelope Cruz), who’s beauty and austereness fascinate him. At the close of the semester Kepesh easily beguiles her with his charm, experience and knowledge of all things cultural.
As their affair develops, however, he quickly becomes insecure about his waning sexual attractiveness and grows suspicious of all time she spends away from him. Although she gives him no reason to be jealous and even pressures him for more of a commitment, he finds it difficult to see past her superficial beauty.
Interspersed throughout, Kepesh has advice-filled meetings with his closest friend, a Pulitzer Prize-winning poet (a surprisingly understated role for Dennis Hopper), but never seems to actually take the advice he is given. In addition, Kepesh also spars with his somewhat estranged son (Peter Sarsgaard), who is trying to build their relationship.
The film is rife with a limpid, languid background of dark lighting, drab colors and fuzzy cinematography. That, combined with the sporadic use of subtle piano music, gives the film a subdued, dreamy quality… not in a “Lost in Translation” kind of way…but rather in a boredom-inducing way.
It is quite clear that in organizing the film Coixet wanted the main focus to be on the actors’ performances. Oscar-winner Kingsley brilliantly carries the film; every note rings perfectly true to his character of a physically-aging man who has the emotional maturity of a teenager but is trying to come to terms with it.
Kepesh draws similarities to the Steve Martin character in “Shopgirl,” but in this case the point of view is from the maturing male’s perspective. Cruz genuinely conveys all the warmth, loveliness and perception that Consuela requires, and Patricia Clarkson shines as a former student who has been having a no-strings-attached relationship with the professor for 20 years.
Unfortunately, all of these bull’s-eye performances are swimming around in a frustratingly slow-paced and long film – a film with ultimately no zest to speak of.
> Comments
Nanette on Sep 30, 2008 at 09:27 AM:
I really like this review as it points out most everything needed to make a decision to see or not see this film. I think the person who reviewed it was Danielle Stevens not Kyle. Please let us give credit where credit is due.