Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
S2E5: This week's episode Hawaii Five-0 answers everyone's, especially Chin's, questions about Kono: She is working undercover for International Affairs, under the reign of Capt. Vincent Fryer (Tom Sizemore), to take down cop-gone-bad Frank DeLano (Billy Baldwin).
The episode opens on a high school girls volleyball coach—loved by his students, faculty, alumni, everyone (isn't that always the case with teachers in these kinds of shows?)—murdered in his locker room after a big victory for his team. The Five-0 investigate his living quarters, which is a guest house on the property of the Joyners, a wealthy couple who let him live there for free, and find somewhat risque photographs of one of his students. All the while, Chin has reconnected with his ex-fiancee, who makes her own attempt at reaching out to the contentious Kono, to no avail.
They speak to the girl, only to find out that the photographs were not taken by the coach, but by an advertising agency. The coach was displeased with his student's decision and she relinquished the photos to him. However, upon investigating a hotel reservation, the Five-0 finds out that it was not his student that the coach was sneaking around with, but the female half of the married couple who let him live on their property rent-free. New suspect: jealous husband.
Instantly, this lead is terminated. The Five-0 go to confront the man, but he is shot dead by a distant gunman before he can reveal anything beyond, "They're going to kill my wife!"
Chin and Lori stake out the hotel room (apparently, aforesaid wife has not checked out yet) to catch anyone who might be after her. To their surprise, Kono is the getaway driver for a thug who tries to break in to kill Mrs. Joyner. She speeds away, but she is caught by the Five-0, who take her into custody. However, while there, the team is visited by Capt. Fryer, who reveals that Kono is working for him undercover to take down DeLano. The team accuses him of using Kono to exact revenge on his crooked former partner, but Fryer and Kono insist they continue with their mission.
Kono goes back undercover, helping DeLano coerce Mrs. Joyner (who they find at her hotel room) take out and bequeath unto them her safety deposit box—when the two are alone, Kono admits to Joyner that she is an undercover cop to put her at ease. The ending bank shoot out sees Kono reclaim her stance as hero, Fryer get his revenge on DeLano, and the team back together again.
Top Five Moments from Tonight's Episode
1. Another LOST reunion. After the gift of John Locke helping out the force, Jin Soo Kwon interrogating Alexandra Linus/Rosseau is just some very sweet icing on a wonderful, wonderful cake.
2. Capt. Fryer's revelation. The team sort of had a collective "Oh, so that's what's been going on" moment when they find out the truth about Kono's recent shadiness.
3. Lori's flustered rambling in the hotel room to Chin about her hardly veiled attraction to Steve...and Chin's stoic, marginally interested responses.
4. Capt. Fryer's taking Steve's slap-in-the-face with dignity, and accepting the command to never mess with his team again. Admirable, considering that this is the same man who set out on a path of bloody revenge that endangered the lives of other police officers earlier that day.
5. Kono's coming back into her own during the bank scene, wherein she takes command by asserting to Mrs. Joyner that she'll be all right, and by pretty much winning control of the standoff.