Most of this dramatic complexity is dulled or obscured by Wyler’s direction, which isn’t uninteresting, but which invests too heavily in cinematic experiments with form and in the established personas of his stars to find its way into the deeply theatrical, symbolist leanings of the piece . . . It shrouds itself in layers of gauze that romanticize the material at the price of revealing it, and which require its allegiance to established generic protocols instead of to its own internal life.
September 01, 2007