Oscar and Lucinda

film of a state. not an ordinary one, not easy to define it , unique, provocative, refuge and desert, giving brilliant performances and special atmosphere. a film for remind. old lectures, pictures and situations, characters and meets. and, in same measure, good opportunity to escape. in a fragile, convincing, ambiguous universe. it is a film who must see. for performances and for great cinematography. for lovely trip in the essence of things. and for the delicate portrait of life. and, maybe, for the flavor of a surprising parable. it is it. a trip. across vulnerable worlds and steps in the middle of a kind of fairy tale.

The marketing for this film in America was absurd when compared to the real thing. I had seen the trailers, and as I am intrigued by anything with Ralph Fiennes, I took notice. However, the preview stressed an gambling-chance-obsessive fun aspect that I found less than compelling. Had the true soul and purpose of the movie come through in that two minute-long advert, I would have been hooked. As it was, I waited until it came out on video.

My expectations, coloured by this misleading trailer, were well exceeded. The film had to do with love and gambling, yes, but there were elements of faith, guilt, family, destiny and survival that were wholly ignored in the press. Ralph Fiennes is marvellous as a disheveled and uncertain faithful, with a boyish charm and utter purity that is difficult to portray without seeming slow-witted or unlikeable. Cate Blanchett, who has received a tremendous amount of notice for her recent portrayal of Elizabeth, is a fountain of strength, charm, capricious abandon, intelligence and sensuality. Like her minor role in _Paradise Road_, she steals scenes and breaks hearts with an undeniable charisma and resolve.

Set in Australia, the story is surprising, and ultimately shocking in its constrast of the ideal and the real. I was moved, and thoroughly impressed with this movie. This is a romance for those who are tired of the predictable, the trite and the overworked. The scenery is beautiful, and the direction is both soft and unflinching. A wonderful achievement.

--Salome

This beautifully made romance has an odd appeal. I only ranked it a seven, because it has some flaws - the complicated story is is not rendered clearly in all its details (I could not figure out what was going on with the Reverend Haslitt, for example) and the style tends towards a gothic/romantic manneredness in places.

All the same, I recommend it for anyone who can tolerate the genre. I love these two actors, Ralph Fiennes and Cate Blanchett. They and the supporting cast, including the bit parts, fill out their roles with life, warmth and poignancy. There are numerous evocative touches in the details of the production - the mysterious moving church in the opening scene, for example, the music, the costumes, and the sets. The story is unique, original, character-based, and there are some unexpected flashes of insight into human nature.

There are many films that are so controversial yet so beautiful, they appeal to only a select number of individuals. "Oscar & Lucinda" is one such triumph. It manages to border on heresy and yet sustain profoundness. Altogether a masterful piece of work from one of my favorite directors (Armstrong also filmed "Charlotte Gray," and "Little Women"), with an absolutely stunning, star-studded (before they were "big") cast.

You simply cannot comment on the film without considering the two leading cast members. Cate Blanchett is stunning here. She was beautiful, aloof, and impressive as "Elizabeth," but her role as the uncertain yet adventurous Lucinda is extremely memorable. Note her childish transformation into womanhood -- the discovery that not all tales have happy endings, that love eventually leads to sorrow. Her scenes with Ralph Fiennes literally crackle with intensity. These are two actors who manage to convince us they're not acting. The passion and devotion put into the role gives the film it's sparkle beyond the stunning cinematography and absolutely breathtaking musical score. Ralph Fiennes is rapidly becoming one of my favorite actors. He's extremely versatile and never shies away from challenging roles, whether it's a heartless Nazi in WWII, a Cambridge professor caught up in the throes of a quiz show scandal, or the impassioned Evgene Onegin. With "Oscar" we see him literally at his finest. The appropriately-nicknamed Academy Award should have been handed to him the day this sweet little Australian film premiered. His Oscar is passionate, guilt-ridden, complex, and utterly sweet. If you're not in tears by the end, you've not managed to give your heart over to one of the most fascinating literary characters ever created.

The sub-roles are all very good (Richard Roxburg in yet ANOTHER 'villainous' lead, but no one minds his untimely demise; Cirian Hinds in the upper-crust role of a minister shocked by his lady friend's gambling habits, even Geoffrey Rush as the unseen narrorator) and lend themselves to a highly romantic atmosphere. I love a slowly unfolding, deep love story but dislike superficial attachments. In the course of this film you believe Oscar & Lucinda actually get to know one another. They're involved in a series of "narrow hits and misses," which make the ending all the more tragic. They "connect" in a way other people cannot; in a world full of round holes, two square pegs make the perfect match.

The religious aspect of this film is also highly interesting. As a Christian myself, I regard anything bordering on heresy with wary suspicion. At first glance, the film borderlines on blasphemy, as Oscar so prudently considers in a key scene ("... unless it is blasphemy to consider mortal pleasure on the level of the divine!") when comparing eternal salvation to gambling ("It's all a gamble, isn't it?"), but if you take the time to explore it more fully, there are very realistic truths tucked in with the uncertainties. Oscar eventually does find Truth and clings to his beliefs to the bitter end. The rivalry between different denominations is also notable.

Older viewers seeking enthralling but not necessarily uplifting entertainment will find "Oscar & Lucinda" an excellent way to spend a couple of hours, particularly in a group. There is one scene of sexual content that is offensive (although clothed and necessary to the plot; for my own enjoyment, I always skip this provincial scene) but otherwise the film is surprisingly light in content. But it's a movie you shouldn't enter lightly. Out of the group of friends I showed it to one weekend, two out of five found it "depressing." But the rest of us were enthralled.

This is one of my favorite movies. Regular readers of my comments will wonder why I elevate it to my "must see" category

Part of the reason I want you to see it is because of how well it pairs with Cate's masterpiece, "Heaven." Now, that film can stand on its own as a transcendent cinematic experience. It easily shifts us from a "real" world into one more magical and over the course of the experience that distance increases.

It took Kieslowski's notion of cinematic distance and added the journey to that distance. It is one of the most important successful experiments in cinema and it owes much to the collaboration of Cate.

That reflects on this. A smaller project. A less ambitious director, but still with an affecting emotional directness. A pre-existing story that has literary strengths that become cinematic defects. And yet there is that same collaboration with the creating of an alternative magical reality fueled by obsession.

There is that same smooth slide from here to there. There is that same equating of wilderness (a Herzogian river) to the internal landscape. The same trigger of the gamble.

And also, there is the remarkable glass chapel. One shot has it moving down the river, but it seems as if it is floating through the trees. You are dead if that does not stick with you for years.

Alas, not much is made of a central image in the book — the tensed glass tears that explode when gently traced at their origin.

The major flaw is Fiennes. Both brothers have a sort of forehead acting style which unravels much of the subtleties of Cate's acting by breathing. But she is so breathtaking an actress in both these films, even though she is only the referent in the last part of this.

See the two films in one night. Any order.

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.