Ralph Fiennes (the esteemed actor now best known for embodying Voldemort in the Harry Potter films) gave himself no small challenge for his first directorial effort. Coriolanus is a dense political Shakespeare play modernized by Fiennes and writer John Logan (Gladiator The Aviator Hugo) into a raw bloody war movie. The film maintains the play's original text a theatrical speech that manages to both heighten and impede the drama in certain instances. But Fiennes injects the material with unfiltered energy and even when the story is lost in its own intricacies it's visceral and commanding.
Presented against the nightmarish backdrop of "Rome " a Children of Men-esque land devastated by raging battles Coriolanus follows the troubled political career of Caius Martius Coriolanus (Fiennes) a general who fights resistance movements butts heads with local protestors and evades attack from influential statesmen. Martius is driven by one goal: to defeat his former friend and long-time nemesis Tullus Aufidius (Gerard Butler) leader of the opposing Volscian army. Rather than attend to the city's rioting population the general joins his military squad to breach the Volscian's walls in hopes of going mano a mano with Aufidius. Martius achieves victory after victory (without putting an end to his Aufidius troubles) becoming a hero to his government. Eventually through his overbearing mother's persuasion Martius is convinced to put down his semi-automatic and begin an ascent to political greatness. It doesn't go so well.
Even if the abridged version of Coriolanus presented in the adaptation was a slow-paced talky drama every detail of Shakespeare's complicated narrative may still be difficult to parse but Fiennes isn't looking to hold any hands. He shoots his movie with the kineticism of a Bourne movie or the recent Hurt Locker full of shaky cam movement and too-close-for-comfort close-ups. He uses the extreme presentation of 24 news networks to replicate in Shakespeare's expository asides while bombarding our senses. He has a cast who can deliver The Bard's poetic dialogue with a cadence that fits realistic setting. The sound and feel of the language is as important as the meaning.
Fiennes isn't as concerned with audiences registering every last minutiae of Coriolanus and he takes every opportunity he can to let his cast off their leash to dig into the drama's inherent intensity. The director/actor plays Caius Martius Coriolanus like a rabid dog—crazed behind the eyes and ready to unleash a barrage of hellfire and spit. Butler's Tullus Aufidius is a low-key foil but when the two finally butt heads neither gentleman holds back. The real stand out is Vanessa Redgrave as Martius' mother Volumnia whose hushed manipulation is even more terrifying than Martius' over aggression.
Coherence isn't the priority in Coriolanus and attempts to connect with the characters becomes a chore but Fiennes's first foray into directing is enjoyable in the exhilaration it delivers to a time-honored text. Forget your memories of 11th grade English—this is unique adrenaline-infused Shakespeare.
The film has edged out Canada's Best Foreign Language Oscar hopeful, Incendies, which has landed 10 nominations.
The two movies will compete for the Best Film prize at the independent cinema awards in March (11), along with 10 1/2, Les Amours Imaginaires and Splice.
Giamatti will compete with Jay Baruchel (The Trotsky), Robert Naylor (10 1/2), Francois Papineau (Route 132) and Timothy Olyphant (High Life) for the Best Actor award, while the Best Actress race will be run by Lubna Azabal (Incendies), Tatiana Maslany (Grown Up Movie Star), Molly Parker (Trigger), Tracey Wright (Trigger) and Rosamund Pike (Barney's Version).
The Academy of Canadian Cinema and Television will hand out the honours on 10 March (11).
Although its Mideast trappings have become terribly familiar in any number of recent movies from Syriana to The Kingdom to director Ridley Scott’s own Black Hawk Down William Monaghan’s (The Departed) tight script still has pertinent things to say about the lies and deceptions inherent in our covert operations in the region. Cloaked in a cat and mouse thriller format the story centers on Roger Ferris (DiCaprio)--a top CIA operative fluent in the Arab language-- who roams from country to country trying to penetrate top secret terrorist cells and uncover plans for mayhem. In trying to smoke out a shadowy terrorist who has been directing a series of key bombings against civilian targets in Europe Ferris comes up with the ingenious idea to create a phony rival group that appears to be taking credit for the “real” Al Qaeda-type organization’s business. Complicating matters for Ferris is his boss Ed Hoffman (Russell Crowe) back at CIA headquarters who sees the world in black and white and believes there is no such thing as going too far to achieve goals in the best interest of the U.S. Both must also deal with the head of Jordanian Intelligence Hani Salaam (Mark Strong) who recognizes that each is useful for his own counter-terrorism efforts. There are a LOT of explosions that keep getting in the way of the dramatics--and much of the Crowe/DiCaprio teaming is played out on opposite sides of a phone line. But Body of Lies incorporates a first-rate cast including many local Middle Eastern performers who make strong impressions. Crowe--adopting some sort of quasi-southern accent (apparently from Arkansas)--creates an amusing CIA boss who sees the world from one perspective--his. Juxtaposing his duties to family as well as America Crowe creates a full blooded portrait of a husband father and CIA lifer who thinks he knows all the answers. His few scenes when he is face to face with co-star DiCaprio are worth the wait and both stars play off each other with ease. DiCaprio is back in Blood Diamond territory here as a rogue operative using his own ingenuity to make a difference. His on-screen command of some Arabic phrases is unforced and impressive and he earns the audience’s empathy particularly when he winds up in well over his head. There are also some nice scenes opposite a Muslim nurse he strikes up a relationship with while in the hospital. Iranian star Golshifteh Farahani is beautiful and nicely understated in these moments. Strong who also is very fine in another of the week’s new releases RocknRolla is suave and powerful as the shrewd Jordanian Crowe and DiCaprio cross swords with. Other regional actors fill out their roles with uncommon authenticity. There can be no question Ridley Scott is a master of the film medium. Body of Lies moves very well and thanks to the Scott style manual has lots of urgency. Employing his usual use of multiple cameras getting simultaneous angles in every scene Scott doesn’t rely on actors having to do a lot of takes and in the process manages to give the film a documentary kind of feel. Although the filmmaking approach sometimes leads to more confusion than we would like it also puts us right in the center of the action. And there’s plenty of that. Working for the fourth time with Crowe the two clearly have a rapport and similar seat-of-the-pants way of working which DiCaprio seems to have picked up nicely. If this isn’t as impressive an overall achievement as Black Hawk Down it’s still an entertainment that is a cut above some of the other recent spate of Middle East-set thrillers. Locations are well used too with Northern Africa and specifically the Moroccan environs filling in for the some dozen countries identified on the screen.