Creating a scent on screen has long been thought to be impossible—but Perfume: The Story of a Murderer is an above-average effort triggering the raw emotions from smell without the gimmicks of 1950's Smell-O-Vision. Based on the best-selling novel by Patrick Suskind Perfume focuses on Jean-Baptiste Grenouille (Ben Whishaw) a weird dude who was born into filth and poverty amid the guts and vomit of an open-air French fish market. Although he has no human scent of his own Grenouille’s world-class sense of smell is able to penetrate people's skin—and he’s attracted to the female scent. Not in a sexual way mind you; he wants only to bottle it. When Grenouille meets fallen (but still legendary) perfumer Giuseppe Baldini (Dustin Hoffman) the younger sets out to titrate the most elusive perfume known to man: A woman's pheromones. Problem is women won't stay long enough so Grenoiulle can capture their scent and the young man ends up killing them. When Grenoiulle kills a powerful merchant's (Alan Rickman) daughter his execution is planned for a public square. Whishaw is the real star here but playing Grenouille may have proven a challenge for the young British actor since the character is beloved by fans of the best-selling novel. Whishaw is forced to go mute and inert as Grenoiulle his intensity focused inward with quiet gazes and mysterious intensity arousing doubt and fear. Grenouille is a man handsome in his youth but ultimately one we despise--or at least someone we wouldn’t want to hang out with. And for a change of pace a powdered rosy-cheeked Hoffman comes up smelling roses in this period thriller. As Baldini in costume flair the two-time Oscar winner does something quite different no longer just the colorful supporting player he’s been playing in light dramas such as Finding Neverland and Stranger Than Fiction. Baldini isn't one of Hoffman's best roles as Whishaw owns this film but it's a fun performance which pays attention to the actor’s pronounced proboscis. Rickman of Harry Potter fame is an enraged vengeful father. Natch. Perfume is director Tom Tykwer's first major commercial film since his 1998's go-go thriller Run Lola Run--and as a thriller Perfume is built around solid dialogue-driven scenes notably between Grenouille and Baldini. Apparently 57-year-old German writer Patrick Suskind refused for years to give up the rights to his book but producer Bernd Eichinger—the guy behind The Neverending Story's precocious 1980's futurism—finally won out. Nuggets of Suskind’s literary wisdom only enhance the movie's continuity and realism scattered incrementally to remind us we're watching an intelligently conceived film. Perfume is unwieldy at 147 minutes however a bit fatty and unnecessary at the film's cost. Sometimes that happens with novel adaptations especially one as popular as Perfume. In fact the film ends with an unusually bizarre orgy with hundreds of naked people writhing in hormone-driven ecstasy. What smells so lovely Mr. Tykwer?
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.