2.4 stars. Just too nasty for me if I'm honest. It's certainly a feast to glut oneself to bloatation on, though I think you need a more humanist, compassionate filmmaker than Greenaway to really puncture the greedy ideology of Thatcherism. Probably the Nyman score I listen to the least as I find it so aurally disturbing (and I say this as a fan of The Residents!) Well played, but sits like a lead weight in the belly.
Michael Gambon pushes the boundaries on how far it is possible to be offended and disgusted by a character on film in this unique dark comedic, erotic, horror satire that also feels like a modern staged Shakespearean play. The set design, music and acting levitate the film to a higher grade and it is fascinating to follow the supporting characters when other characters talk too as there is a lot happening here.
having a good mood when you saw first time at screen. I just cant stop admire how wonderfull colour they made on every setting. We can drowning as much we watching. I dont get borred with everysingle detail they made. I just really love red who made they feel glorious, then became green who had every friendship when we see. And the last we can saw white with honest, only "me".
I have very little experience of Peter Greenaway, having only ever seen this film and The Baby Of Macon, but he has impressed me so far. This held up even better on a rewatch than it did the first tme around for me, with Michael Gambon on top form as a despicable human being and Helen Mirren matching him as his suffering wife.
Palpably intense from the very first frame till the last. Repressed desires, excess, abjection, lust, violence, death... Greenaway indiscriminately intermingles the most intense human experiences, leaving no boundaries between them (besides, everything will come out as shit in the end). Whether it is a critique of Thatcherism, capitalism, bourgeois institutions or simply a tale of love and revenge, this is a must-see
Something about the ending breaking the otherwise consistent style spoils this and denies it 5 stars. Contrast it to the lorries, the still life of ingredients. To the kitchens. To the lovers, the food, the tableaux of powerful men. This finale is not a scenario or concept that appears in art history - but a similar visual scenario could have been. For original concept, execution and bravery 5*.
A meaty offering of sex, violence, and food, presented in an oddly open and rather drafty 'french' restaurant. Michael Nyman's score has just the right peristaltic quality to support our digestion of this bizarre revenge narrative. Helen Mirren is the enticingly undemonstrative femme fatale played against Gambon;s screaming, psychotic thug.