Set almost entirely in a French restaurant, this bold, controversial film utilizes follows the exploits of a ruthless British gangster whose long suffering wife forges a relationship with one of the restaurant’s patrons behind his back.
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Poetic justice never felt quite as satisfyingly disgusting as in this antinomic and mesmerizing fable. the stench of vulgarity and violence pours out from a rich and colorful canvas in bursts of passion, horror and laughter. Anything goes.
Albert Spica has to be one of my favourite characters ever. I would definitely watch this again. The endless horizontal tracking shots, the hilarious- quotable script, greenaway's aesthetic sensitivity. All the wife's rage emerged in a marvellous end.
Peter Greenaway seems to be more comfortable working as a film engineer rather than a film artist, the concept design is immaculate and his handling with actors and witty, cynic dialogue is top notch as well, but I think there is a difference between being uncompromising and artificial, and the fact that I had found this film so irresistably charming is entirely due to its virtuoso, robotic-like realization.
Helen Mirren and Michael Gambon star in this erotically charged drama about a ruthless mob boss whose wife takes up an affair with a mild mannered book keeper in order to escape her husband's boorish cruelty. Lavishly produced (notice how the color of the characters' costumes change to fit the room they are in), lurid, and even darkly funny, the film puts a wicked modern spin on Jacobean revenge dramas.
Pretty, but phony. The final revenge never for a moment convinced me, as I thought the character Michael Gambon had been showing me for the rest of the film wouldn't have thought twice about chowing down on a roasted human body.
Just Desserts. Gorgeously cruel revenge drama and probably the best of Greenaway’s ascetic and formalised films. Humanity, as ever, is held at arm’s length, but with such ravishing visuals and a nervy, insistent score by Michael Nyman, this is a wicked delight.