Third Person

Liam Neeson plays Michael, a writer. His eyes are curiously and deceptively filled with feeling and warmth even as his character plays out as a "sociopath" who has trouble feeling anything genuine toward other people. Yet, he is obsessed with the creation of emotion, as if the suspension of love in mid-air between two people is his home and friend. His mind is similarly disembodied. He feels need for love, especially when he is deprived of his lover's presence, but the actual presence of that body works to quickly diffuse the passion that is powerful in theory but thrives on it's staying in that theoretical strata. Michael has found a way, through his writing, to cope with this absurd existence. He finds the answer to his addiction in the creation of fiction using people in real life. He lets life naturally play out around him, provoking into being both the subtle and blatant forms of passion, romanticism, divine emotion and drama, then filters these experiences onto paper, choosing only the best parts, and throwing away the rest. Including any irrelevant parts of himself. In this way, he chooses to live his own life in a half-existence, desperately clinging to the divinity of love while denying the bitter absence of his ability to express it genuinely. 'Genuinely' is the key word here. Surely delivering hundreds of white roses to the bedroom of his lover Anna, (played by Olivia Wilde), is beyond romantic. But for Michael it is an act of intellect, not passion. It is a tool used to evoke the necessary catalyst, letting life display action, and funneling the magic into his own words.

Anna is a woman and entity that is completely unique in relation to anyone else in the movie and expresses a shade of mentality that I've never seen in a film so clearly. Within the life spans of each character prior to the timeline of the film is a catastrophic event involving either children or themselves as children. This is a line of storytelling that is evenly and thoroughly paved, on which it is typically easy to carry an audience. Because of such and such event in one's childhood, this character turned out to be this and this. The audience willingly nods to almost any such explanation that follows this logic; the more messed up, the more believable. Anna's case certainly gives her some degree of excusability in this story, though that concept is for another time and another debate. Incredibly, this event, though strong and controversial, does not outshine the vivid expression of her mentality through her actions prior to the unveiling of this childhood/adulthood disaster. She is blunt, cold and incredibly sadistic when it comes to attacking Michael. She is spontaneous, child-like and in considerable anguish. She is excited by the same game that Michael is, and this is what holds them together through the poisonous collisions with the sterility of every-day life. There game is fun, sexy. The fact that in their spontaneous role-play they are acutely aware of the other's true mentality builds a mutual sexual excitement; they can't wait to see how the story will turn out this time, whether it leaves Anna naked in the hallway of a hotel, or hundreds of flowers left in her empty room. The plain of existence could go on exponentially from here in satisfaction for Michael, but for Anna there is a step further down that makes her existence with Michael inhospitable. She is aware and ashamed of her acidic behavior towards Michael, and she has settled into a resolution of consistent punishment for those actions; at least she is trying very hard to. Michael makes this wish impossible in his equally consistent forgiveness for the sake of not losing his muse. As a result, Anna is catapulted into despair as she does not receive the intake of pain and rebuke she expects, resolute that she in no way deserves forgiveness or love; both of which she has long since destroyed within herself. Confronted with a room full of roses, she is helpless to respond in any way other than crawling, slowly and humbly, back to her indestructible lover...

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When I received an invite to go to the screening of Third Person, I was a bit uncertain whether this would be a decent flick or not. I hadn't seen any trailers or read articles about it so I did not know what to expect.

Third person is a film from Paul Haggis ( the director of the Oscar- winning "Crash") involving intertwining stories featuring Liam Neeson, Olivia Wilde, Adrien Brody, Mila Kunis, James Franco, Maria Bello, Moran Atlas and Kim Basinger.

Having not seen Crash, I hadn't raised my expectations to spectacular levels. Maybe this is why Third Person is getting a mediocre score, people simply compare it with Crash and not as an individual movie.

Let me begin by stating that the atmospheric feel of the movie is top notch. Whether it is the chic, extravagant life-style in Paris, the beautiful and not-so beautiful side of Rome or the busy streets in New York, every city is portrayed in a beautiful way. The soundtrack is okay and fits with the mood of the scenes.

The acting is , how could it not be with this cast, top-notch ! Especially Mila Kunis surprised me with her emotionally depth, a side of her that we don't see a lot in her movies.

Of course, with different intertwining stories, people will argue which one is the best of the bundle. Let me make this clear : Each story is very intriguing and has plot twists that I did not see coming. You could feel everyone staring with great surprise at the screen when major twists came.

For me, the best story was the part with Adrien Brody and Moran Atlas. They had the best chemistry in the movie, with a very interesting dilemma. It had the funniest and most-thrilling moments ( according to me of course, the others are very well made as well, this is truly a matter of personal taste ).

But the movie has a big flaw. The link between the stories is rather weak ( I still have no idea how Adrien's story was linked with the rest of them, when this movie releases for all audiences someone will maybe find that link ). The wrap-around at the end was very, very confusing and didn't make a lot of sense. It was surprising , yes, but really no- one understood what the ending meant for the story. But I think that if this movie gets analyzed and someone clearly explains it's ending, my appreciation for this movie would certainly be of the roof.

I'm not the type of guy who volunteers to watch a romantic drama, I even dread the thought of watching another chick-flick/tear-buster with the girlfriend. But this drama pulled me into it's story with fantastic performances from an awesome cast, good writing/directing for each storyline and a fine balance between drama, romance and humor.

And for that great achievement, this movie deserves :

7,5 /10

This is an excellent human drama. Any of the negative reviews you see about it are basically coming from a "dumbing down" stance. Like . . (duh) WHY is this director trying to be so intellectooul?" It's a damned clever piece of work, and we don't get that much any more in this age of comic book movies.

It is also VERY moving, and finely acted. Watching Olivia Wilde's character, I kept thinking, wow such a "borderline" case, then we find out precisely WHY she's such.

You should go see this and bring your brain with you. Don't tell anyone else what it's about or what the spoilers are, and I'm not either.

"White" - the color of trust, and belief, and lies.

If you see a large number of user reviews with spoilers it's because this movie has a complex story line that is hard to describe without spoiling the suspense and confusion that one experiences while watching it for the first time. Don't read the spoilers until after you see the film or you will rip yourself off. My partner and I saw it at the Rehoboth Beach film festival and really didn't know exactly what to think at the end of the movie. We had both been engrossed and intrigued but felt unsatisfied at the end… until we were discussing it on the way home and figured out what we had just seen. The most popular spoiler alert review nails the plot, but suffice to say that this is no typical "I can see were this is going" movie, it was almost "I see dead people but they don't know they are dead" kind of realization, only for us, we didn't get it until a half an hour after the movie was over. We actually didn't realize how good it was until we thought about it. I would recommend it and I will watch it again to tie up all the clues given along the way.

This is not the movie for everyone, but I loved it. The acting is superb and the story is not your formula Hollywood blockbuster. It is a unique and interesting story, that will hold your interest the entire time, always unsure of the outcome.

The subject matter is a bleak but the characters are true and real. Kim Basinger after hearing something that would drive most women away, asks her husband to come home. Twists, turns, but in the end, it all makes sense.

Not the movie for just anyone. If you want a schlock Hollywood feel good movie, go see the delightful new Rob Reiner film 'And so it goes'

but as for me, this is head and shoulders over that.

Phooey to the bad reviews