Starring: Russell Crowe, Freddie Highmore, Albert Finney
Directed by Ridley Scott
Rated PG-13
2 Pulses
It’s been six years since the release of Gladiator, the first collaboration between director Ridley Scott and actor Russell Crowe. It was more than a mild success, winning the Oscar for best picture.
Since then, Scott has directed Black Hawk Down and Kingdom of Heaven, while Crowe has starred in such heroic films as Master and Commander: The Far Side of the World and Cinderella Man. With A Good Year, both depart from their given form and venture into quainter fare.
Max Skinner (Crowe) is known for being one of the most cutthroat stockbrokers in London?selling his company’s stock in mass quantities, at very high prices, and then buying them back cheaper than he sold them for, gaining an enormous profit for his company. That image is in stark contrast to the very smart and kind person he was as a child, while spending time at his Uncle Henry’s chateau in France.
Due to his sole dedication to work over the past decade Skinner hasn’t managed to keep in touch with his uncle. When he finds out that his uncle has passed away, he doesn’t even shed a tear. Once he realizes the estate is all his, he quickly goes to check it out.
While there, an American girl named Christie Roberts (Abbie Cornish) shows up claiming to be the illegitimate daughter of Uncle Henry; if that’s true than Skinner is no longer the only blood relation. Her rights would supersede his.
All of this is put aside as he tries to win the heart of a local French girl named Fanny Chenal (Marion Cotillard). When Skinner realizes he may be falling in love, he must decide which is more important?selling the chateau and going back to work in London, or keeping it and staying in France.
The biggest problem with the film is the lack of emotional connection and sympathy for the characters, especially Skinner, who even at the end can’t seem to make up his mind without outside forces helping him. I felt like an audience member instead of an active participant. Not to say that things should have been handled in a sappy manner, but I needed more. I can’t pinpoint what the problem is, whether it’s the not-so-interesting story or the so-so acting.
The only real thing going for A Good Year is the masterful cinematography by Philippe Le Sourd. He really adds impressive scope to such a simple tale. Whether it’s the stark, cold blues of London or the warm yellowish/orange tint of France, everything is given much needed depth and beauty. In fact, the film seems more like a painting or novel than anything else. I just wish the story was handled with the same care and dedication as the cinematography.
