Pilot Frank "Shut 'Em Down" Towns (Dennis Quaid) arrives in Mongolia to close down an unprosperous oil rig and fly the disgruntled crew home. Along for the ride are his partner A.J. (Tyrese) the oil company's fetching but feisty female foreman (Miranda Otto) the company man (Hugh Laurie) assorted grease monkeys and one very odd hitchhiker (Giovanni Ribisi). Townes foolishly decides to fly into a sandstorm instead of turning back resulting in a forced landing that has them stranded in the middle of the Gobi desert with little hope of rescue. Moviegoers will likely be comparing the film not to the original but to TV's similar plane crash story Lost. Like Lost there's a reluctant leader a spunky babe a wise Arabic guy and lots of life-or-death tension. (Sorry no polar bears). Once they realize no rescue is coming they concoct a risky plan to get home although not everyone's sold on the idea.
Dennis Quaid is his usual roguish self as Towns a crusty arrogant but still charming guy who might be Harrison Ford's brother from Six Days Seven Nights. Heavy lifting isn't required by the actors in a film like this but indie fave Giovanni Ribisi turns in a nicely twitchy performance as Elliott the fellow who turns out to be strangely important to their survival. Miranda Otto (Eowyn from The Lord of the Rings films) is once again believably self-sufficient and is spared any romantic overtures from her fellow survivors. Hugh Laurie's character is at first merely "the suit " but gradually pitches in with the blue-collar workers. Tony Curran and Tyrese buddy up as they pull together to salvage what they can from the wrecked plane. As the chef Jacob Vargas supplies much of the comedy while desert know-how comes from Kevork Malikyan.
John Moore who also directed the rah-rah actioner Behind Enemy Lines clearly likes stories about men in desperate circumstances leavened by unlikely bonding and humor. The Gobi desert never looked more beautiful or more ominous with its mysteriously shifting sand. The plane crash might not be able to rival The Day After Tomorrow's tornados or jaw-dropping tidal wave but is still horrifyingly riveting. If you can't predict every beat of the finale however you clearly haven't seen enough movies.
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.