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Closer Movie Review: By Adam Mast, ZBoneMan.com
Closer is an absolutely brutal exploration into relationships,
intimacy, betrayal and sex - but presents all of this without
any scenes that portray the sex act itself. Instead, legendary
director Mike Nichols (who appears to be at the top of his
game again with recent, extraordinary work like Wit and
Angels in America), tells this tough, unflinching story
(based on a play by Patrick Marber) through gritty dialogue
delivered by a cast of truly dysfunctional but highly intelligent
characters.
Closer
weaves it’s complex tale around four individuals whose
lives intersect in a series of volatile ways. Jude Law is
Dan, an obituary writer hoping to publish a book and Natalie
Portman is Alice, the needy stripper who falls for him.
Clive Owen is Larry, a dermatologist who, under an odd set
of circumstances, meets up with and eventually falls for
photographer Anna (played by Julia Roberts). Trouble arises
when an indiscretion (more than one actually) occurs, prompting
these diverse characters to question how they actually feel
about their so-called loved ones.
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Closer
is dark and uncompromising. It reminded me of the
scathing and effective works of Neil LaBute, a writer
attracted to dysfunction and the darker side of human
nature. The screenplay was adapted by Patrick Marber,
and not surprisingly, it has a rhythm that one might
find more suited for a play, still as a film, it is
intelligent and effective. I must admit, however,
certain resolutions and confrontations didn’t
ring true for me, though I don’t suppose the
film-makers intended for them to. Much of the picture
felt like heightened reality, and as an end result,
parts of Closer felt a little too smart and practiced
for their own good.
The
cast is extraordinary, and in a bold move, director
Mike Nichols has the expert cast play against type.
Jude Law continues to impress adding a kind of depth
here that was sorely lacking in his role in the recent
Alfie. Similarly, Julia Roberts sheds her girl next
door image to play her strongest role since Erin Brockovich.
All eyes are on gorgeous Natalie Portman who appears
in her first truly adult role. This is a bold new
direction for the actress, who delivers her most uninhibited
performance. Things do get racy. And in fact, it’s
been reported this beautiful talent and her stripping
scenes were even racier in the first cut, but Nichols
and crew elected to edit the film in fear that things
were becoming too gratuitous. As good as Portman is
here, I preferred her luminous, lovable turn in Zach
Braff’s Garden State.
As
great as the cast is in Closer, the real breakout
performance comes courtesy of the lesser known Clive
Owen whose brash Larry is more than capable of monstrous
behavior. In a picture about manipulation, Clive is
king, but the neatest trick he pulls off, is that
he always comes across as human.
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Mike
Nichols refrains from doing anything flashy. This is a character
study, and he lets these performers explore a wide range
of emotions in their own way. Wisely, Nichols sets up basic
shots and allows the actors to create the motion. While
this may bore some audiences, it never bored me. I was intrigued
by what these characters had to say, and some of what they
'did' have to say shocked me into complete and utter silence.
One scene in particular has one character forcing another
to describe his or her sexual indiscretion in full detail.
It was frank, and uncomfortable, but the "in your face"
manner in which this dialogue was delivered was provocative
and most welcome. This is, after all, a film in which people
communicate, and we rarely see this sort of thing in movies
these days.
And
how about that excellent Damien Rice song "The Blower’s
Daughter," which perfectly captures the tone of the
film’s opening and closing scenes? Talk about effective.
What
I liked most about Closer was it’s unpredictable nature.
I really had no idea which characters would end up with
whom by the end of this picture, and when the ending arrived,
I was shocked, uneasy, and, in some ways, appalled. Closer
is an intelligent, thoughtful expose about people trying
to figure out what they want, and not always getting it.
As painful as the climax was, it rang true, particularly
for this cast of smart but misguided characters.
Grade:
B+
Adam Mast, ZBoneMan.com
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