Disgrace

Adapted from J.M. Coetzee’s acclaimed novel, this is an admirably complex film, in which director Steve Jacobs successfully presents a scenario with no easy solutions, but fails to tell a really compelling story. John Malkovich plays David, a South African university lecturer who is discovered carrying on an affair with a student and is forced to resign his post. Seemingly unrepentant, but accepting that he cannot stay in Cape Town, he decides to go and live with his estranged daughter Lucy (Jessica Haines) on her remote farm on the opposite side of the country. He begins settling down and trying to rebuild some kind of relationship with his daughter, but this fledgling peace is soon burst open by a brutal act of violence.

David is a puzzle, and difficult to even begin to try and understand; he behaves badly, but we are kept from simply hating him by Malkovich’s excellent performance. He gives very little away about David’s internal life, making him recognisably human, but such an impenetrable central character is tough to stay interested in, and while there are clearly deeper layers to David, Jacobs never lets us find them. Jacobs is interested in exploring some of contemporary South Africa’s biggest social problems though, and particularly through the character of Lucy, he very effectively shows the broken state that this nation is in. As often happens with literary adaptations, Jacobs introduces several themes and characters that are introduced but not fully developed, and the film is often a frustrating experience as a result.

Burn After Reading

Screen Fever Score: 7/10

The Coen Brothers’ new movie is an almost perverse about-face in the wake of their Oscar-winning, weighty adaptation of No Country for Old Men, released just nine months ago in the UK. Where No Country was enigmatic and considered, foregrounding subtlety over show, Burn After Reading is broad and crude, placing its big-name cast front and centre. This is, I think, a good thing. While it is tempting to wish for more of the same after feasting on the greatness of No Country, it’s reassuring to know that the Coens are the same contrarians they’ve always been, and although Burn After Reading is unlikely to make anyone’s Top 5 Coens’ list, it is not without its pleasures.

The story is a lolloping thing, but chiefly centres around CIA agent Osbourne Cox (John Malkovich), who as the film begins is receiving the unwelcome news of his effective sacking. To add to his woes, his wife is an ice queen (Tilda Swinton, naturally) who is planning to divorce him as soon as possible and is also carrying on an affair with George Clooney’s womanising Treasury agent Harry Pfarrer. Things will soon get worse for Cox, as Chad and Linda, two hapless employees of Hardbodies Gym (played by Brad Pitt and Frances McDormand) find a CD of his tell-all CIA memoirs, leading to possibly the worst blackmail attempt in the history of spy movies. Yes, this is the Coens’ take on cool espionage movies, except in this case everyone involved is at least two sandwiches short of the proverbial picnic.

There is a distinct sense in Burn After Reading that the Coens are wilfully pushing their own well-worn characteristics as near to breaking point as they can, particularly with their returning cast members. Clooney plays less a character and more a collection of tics and quirks, obsessing about food, floors and “getting a run in” after sex, while McDormand brings the bug-eyed naivety of Fargo’s Marge Gunderson, but the writing here has none of the human warmth that made that character so effective. The newcomers to the Coen family fare better: Malkovich is excellent in what seems like his first proper role in years, his outraged intensity perfectly fitting the bill. Pitt is also very good, revelling in Chad’s dumbness, but also more subtly pulling off the none-too-easy task of provoking us to warm to an essentially one-dimensional character.

As with all of the Coen Brothers’ films, there are suggestions of meaning beyond the film’s surface, particularly in the maudlin and pensive atmosphere created by Carter Burwell’s score. Unlike their best comedies though – I’m thinking of The Big Lebowski and O Brother Where Art Thou? – the disparate elements of Burn After Reading don’t add up to a hugely satisfying experience. That said, the film’s ending is perfect: as plot turns become progressively more ludicrous one begins to wonder if there is any point to the story, but a masterful final scene featuring a movie-stealing J.K. Simmons answers that question and ties things up beautifully.

Info:
Directors: Joel & Ethan Coen
UK release date: 17 October

You can also read this review on futuremovies.co.uk