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?
Does hell exist or do we create our own? This is the larger question screenwriter Scott Kosar asks as we watch machinist Trevor Reznik (Christian Bale) stumble through his disintegrating world in this psychological thriller inspired by introspective mindbenders like Roman Polanski's The Tenant and Wim Wenders's The American Friend. From the moment we glimpse Trevor's freakishly emaciated frame it's obvious that something is eating him away from the inside the same thing responsible for his chronic insomnia. With apparently no Nytol or sleep aids available in his zip code a strung-out Trevor continues working at a dangerous industrial facility until he causes an accident that costs a coworker his arm. When no one recalls the imposing bald man whom Trevor claims distracted him during the incident he is ostracized by his coworkers and ultimately fired. He tries to find comfort in a sympathetic hooker (Jennifer Jason Leigh) who has fallen in love with him and a kind waitress and single mom (Aitana Sanchez-Gijon) who works at his favorite all-night diner but even they offer little solace as his paranoia mounts. What is real what is memory and what is imagined? Trevor clings to the last shreds of his sanity before he finally faces the truth about the only demon that matters--the one with the tortured face staring back at him in the mirror.
Christian Bale is one of the finest actors of his generation and as evidenced by his total immersion in this role the most committed. After having seen Bale's buff physique on display in movies like American Psycho and Equilibrium he is a fright to behold after losing 63 pounds with concave stomach protruding ribs and hipbones jutting out like handlebars. "I could make a whole other movie on the subject of guilt just from my experience of watching this man reduce himself to 120 pounds " says director Brad Anderson. Bale who claims he simply stopped eating for the role was attracted to the character because Trevor is a man stripped to his bare bones literally and otherwise. "Trevor is consumed with anxiety and lives with this intense fear that something awful is always just about to happen " says Bale. "He fears he's the butt of some great cosmic joke. We all know how powerful a combination sleep deprivation and suppressed emotion can be. It takes him to places that are terrifying and monstrous but also incredibly revealing." In supporting roles Jennifer Jason Leigh revisits the damaged-goods gal she does so expertly and Spanish actress Aitana Sanchez-Gijon provides the only soothing visage in the film's grim landscape.
If you've seen Brad Anderson's creepy Session 9 you know the director has a talent for building a sense of quiet dread. The same can be said of The Machinist where everything from a ticking clock to a hangman game on Post-It notes starts to seem menacing. Inspired by the camera angles of Hitchcock the surrealism of German Expressionist films like Nosferatu as well as film noir Anderson constructs a muted washed-out shadowy world for his ghostly main man to haunt. "I wanted the movie to feel out of time other-worldly from a different era or place " says Anderson. "You never quite get a grip on where or when in time things are happening and that was intentional. It's a modern Kafkaesque world a nightmare dreamscape that draws horror from everyday existence."