Zen: Ratking

Zen (sadly, tragically!) concluded its wildly entertaining three-week run on Masterpiece Mystery with perhaps the most interesting mystery yet. And while the end of the episode left me longing for more, if the show had to get canceled (silly BBC!) it ended on perhaps the best possible note - it left me wanting more, and left my new favorite smoldering sleuth in a very good place. Be warned, this post is apt to be long and rambling and ALL over the place. :) Here's the episode summary of Ratking from the PBS website:

There's a new boss on the murder squad, Ernesto Hueber, and to his position he's brought an ironclad Code of Conduct, an antagonistic relationship with the powers that be and a bitter contempt for Zen. No "fraternizing" with coworkers and no freedom to define and skirt his own boundaries means certain noncompliance for Zen. Between his growing relationship with Tania and a new morally ambiguous case handed to him by the Ministry, Zen now must navigate the potential minefields of the girlfriend, the boss and the law.

To pay a kidnapping ransom is illegal in Italy. But that is exactly what Zen is tasked with by the Ministry when the head of the powerful Miletti family is kidnapped and his lawyer is murdered during the ransom drop. With his rival Fabri on the case and a mysterious stranger on his tail, Zen is poised to take a fall. Will the feisty Venetian find a slippery solution to his high-stakes dilemma, or is he finally out of luck?

Based on Michael Dibdin's bestselling Aurelio Zen novel, Ratking stars Rufus Sewell (Middlemarch), Caterina Murino (Casino Royale), and Ed Stoppard (Upstairs Downstairs).

Ratking opens with the murder of a middle-aged lawyer, Francesco Pirotta (Franco Maria Salamon), shot to death after delivering a briefcase full of ransom money - an activity that, no matter how well-intentioned, is illegal in Italy. Pirotta was the lawyer of the powerful and influential Miletti family (living proof that the extremely rich really ARE different from the rest of us), whose patriarch Ruggerio had been kidnapped several days before. The family was attempting to deal with the kidnappers on their own and without involving the police, since to do so would see their monetary assets frozen by the government to prevent things like disastrous ransom drops.

Thanks to the Ministry's interest in his career, it's a foregone conclusion that Zen (Rufus Sewell) is assigned this nightmare-in-the-making of a case. The "patronage" of Minister Geurchini (Anthony Higgins) and his aide Amedeo Colonna (Ben Miles) only make Zen's standing at work increasingly untenable. Since his biggest advocate and boss, Moscati (Stanley Townsend) has been sidelined thanks to a heart attack, the department has a new and extremely strict superior - Ernesto Heuber (Michael McElhatton). Heuber institutes a "no inter-office affairs" policy and takes an immediate dislike to what he views as Zen's publicity-seeking ways thanks to the coverage of his recent case successes.

This episode is packed with the sly humor that is just one of the many (many, MANY) factors that make Zen such a compelling character. Time after time a government official, coworker, or member of the Miletti family question Zen's judgment or make disparaging remarks about his capabilities, and he doesn't say a word and just walks off. He doesn't have to do anything else - that's the beauty of Sewell's portrayal. All it takes is a look, an expression, the quirk of an eyebrow, and Sewell conveys a wealth of information without uttering a syllable. GENIUS. SOMEBODY HAND THE MAN AN EMMY.

I'm perhaps biased by some warped personal preference, but if a mystery story centers on a highly dysfunctional family like the Milettis, I am predisposed to love it. When Zen goes to interview the Miletti family, he first meets the arrogant second-in-command Carlo Fagioli (Callum Blue), who married the boss's ice queen daughter Cinzia (Sarah-Jane Potts). I loved Blue in the made-for-TV World War II-era film In Love and War. He was a big part of the reason I saw Princess Diaries 2 in theaters (yes, really), and most recently he played a critical role in the three-part "Kali" storyline on my beloved sci-fi show Sanctuary. Blue seems to relish playing a selfish, obnoxious character like Carlo, and frankly it's fun to watch him in this setting (the sharp suit he sports is just an added bonus). The essence of his character is perhaps best-highlighted in his RUDE dismissal of a nun (Katie Murphy) seeking charity assistance for her order's orphanage ministry. Potts, meanwhile, is notable mainly for her extraordinary and disturbing ability to convey her fixation with her on-screen brother, Silvio, and her art-deco style haircut.

Silvio is played by Sebastien Armesto, who should be a familiar face to Masterpiece fans. Armesto played Edmund Sparkler in Little Dorrit (and was hilarious!), Mr. Haslam in Bright Star, and King Ferdinand VI in the latest Pirates film. Silvio is your stereotypical debauched aristocrat with major daddy issues, a disappointment to a powerful father and, quite frankly, a disaster waiting to happen. You know things are going to go badly, very badly for his character when he shows up wearing a lavender shirt and a pink coat and pouts. *wink*

Ed Stoppard finally justifies his presence in this series as Zen's personal and professional rival, Vincenzo Fabri. When Zen specifically requests Giorgio de Angelis (Vincent Riotta) as back-up, Heuber takes the opportunity to exercise his authority by sending in Fabri instead, who does such a pathetically obvious job of sucking up to Zen that its laughable. Much to Zen's chagrin, Fabri is good friends with the Miletti family, complicating case. There is this hilarious exchange when Fabri suggests quite seriously that they bungle the case in order to disgrace Heuber - Zen's look of speechless incredulity was so pitch-perfect it just cracked me up. Sewell has a real gift for understatement. :)

Matters are further complicated when the lawyer's widow, Donatella (Zoe Tapper) goes public with the case, claiming to want justice for her husband. Tapper has appeared in a variety of Masterpiece programs, including Foyle's War, Jericho, and Miss Marple, as well as playing the role of Mina Harker in the short-lived series Demons. Donatella suggests that the Milettis orchestrated her husband's murder because he knew their secrets. Her outrage is so seethingly palpable and fake that it really made me appreciate the twist the storyline takes when Zen discovers the truth about Donatella's relationship with a Miletti family scion. This story is jam-packed with twists and turns and double-crosses that make watching the relationships unravel on-screen absolutely fascinating viewing.

One of the biggest draws of this series for me has been the complex portrayal of Zen's personal relationships, namely with his girlfriend Tania (Caterina Murino) and his Mamma (Catherine Spaak). While I hate the fact that Zen & Tania's relationship kicks into high gear while they're both still technically married, I'm not gonna lie on a purely fangirl level I adore Sewell and Murino on-screen. Their chemistry is electric and the pair truly excel at playing messed-up individuals striving to desperately grasp some happiness in their personal lives. When the Miletti case reaches a dangerous crossroads, and Zen might actually lose his life, their "I love you" exchange just melted me. First Tania says it, and then Zen CALLS HER BACK, whispers "I love you" and HANGS UP?! That moment pretty much epitomizes everything I love about Rufus in ten seconds - so much restrained passion, emotion, and kindness is in that scene it overwhelms, it really does. There is also a similar exchange with his mother, when he basically thanks her for everything she's ever done for him, then kisses his hands and gestures towards her in salute and WALKS OFF!! He just WALKS OFF and leaves his mother shattered in the kitchen!! Oh my word that was brilliantly played. If you don't understand why I love Rufus Sewell so much, just watch those scenes - they pretty much say it all.

Ben Miles as Colonna has been a constant presence in this series, but his role is significantly expanded in this episode and full of unexpectedly humorous exchanges with his reluctant protege. The professional double-standards the "unfortunately" honest Zen are forced to operate within are, quite frankly, mind blowing. The government wants Miletti recovered safely with a minimum of publicity, since he bankrolls the party in power. The nonchalance with which Colonna hands over a suitcase FULL of laundered money for a second ransom payment is hilarious, because only Zen recognizes the absurdity of the moment. If the money drop fails it's only Zen's career on the line, so one of the best parts of this episode is the revelation of how Zen has learned to work the system in his favor, much to Colonna's chagrin. *wink*

The pacing and atmosphere of this episode was superbly handled. I especially loved Zen's first failed ransom drop attempt - the setting, the crowd, and Adrian Johnston's score all worked together in perfect harmony to build suspense. This made the payoff incredibly satisfying, when thanks to cooperation from his private eye friend Gilberto (Francesco Quinn), Zen is able to conceal his and the government's complicity in the illegal ransom plot (embarassing Heuber is just a bonus). I loved the fact that we got to see more of Gilberto in this episode. He and Zen have a stormy friendship, but their regard for each other is so well played I wish Gilberto's role had been greatly expanded in the series (for narrative purposes AND the fact that Francesco is DROP. DEAD. GORGEOUS.).

It's interesting, because over the course of this series I've come to appreciate that Zen would be the last person in the world to say that anything comes easily for him. But Ratking gives him that illusion, even for just a brief moment - he's got the girl, the plan to rescue Miletti appears successful - and in a flash it all disappears, leaving him on the brink of personal and professional ruin. You know you probably need to re-evaluate your life when your girlfriend's soon-to-be ex-husband tries to kill himself in front of you (and fails - seriously, this should be read as a cautionary antecdote against affairs), and then your kidnapping investigation blows up in your face in a spectacular fashion, leaving the man you're trying to rescue dead.

But the thing that I like so much about Zen is that he refuses to concede defeat. With nothing left to lose and everything to gain, he persists in his investigation and uncovers the truth, nearly dying in the process. Surviving Ratking was a hard-won victory, and Rufus Sewell proves he was the perfect actor to portray the highs and lows, the depth and nuance in this "everyman" character. And the payoff is oh-so-sweet - strong-arming Colonna into giving him the temporary job of chief, and using his newfound clout to pursue correct (if unpopular) lines of enquiry? PRICELESS, people, freaking PRICELESS.

Zen is a shining standout in Rufus Sewell's filmography. He's such a wonderfully layered, nuanced character - on the one hand, seemingly unflappable and self-assured, on the other hand capable of incredible kindness (oh I LOVED the fact that he donated the government's ill-gotten ransome money to a NUN!) and heart-stopping vulnerability, all while being drop dead gorgeous and adorable. Just when I thought my Rufus Sewell obsession had perhaps reached its height, the man gives me this series - all I can say to that is, more please.

• Read my review of Zen: Cabal
• Read my review of Zen: Vendetta
• Order Zen on DVD
• Watch Ratking online through 8/30/11

Zen: Vendetta

How much fun was this, people? :)

Zen began its three-week run on Masterpiece Mystery last night with its first episode entitled Vendetta. Seeing as I am a rabid Rufus Sewell fangirl, I was predisposed to like this series - it also had in its favor that it shares much of the same production team that brought six superb episodes of the Kenneth Branagh vehicle Wallander to Masterpiece Mystery in previous seasons. Happily Vendetta delivered on all fronts, providing me with a heckuvalot of fodder for my Rufus Sewell obsession as well as a fast-paced, entertaining storyline and gorgeous, absolutely beautiful Italian scenery. Here's the episode summary from the PBS website:

Meet Zen. He has an unusual (Venetian) name and, in the shark tank of Roman politics, has an even more unusual reputation — as an honest detective. Aurelio Zen, the sometimes cool, sometimes bumbling, but always impeccably stylish murder squad detective is saddled with an "unfortunate" reputation for integrity, and it hasn't exactly helped his career. Nor is his personal life thriving. In spite of advances from female suspects as and colleagues alike, he is pushing 40 and living with his doting mother after a failed marriage.

But Zen is handed a chance to play politics and salvage his career when a debauched billionaire construction magnate is murdered in his heavily fortified mountain retreat. Zen is driven to find something it seems only he wants — the truth. Well, the truth and the murder squad's new secretary, Tania Moretti.
Meanwhile, a vengeful killer is making his way to Rome, brutally executing those who sent him away to prison for murder. The final target of his vendetta: Aurelio Zen.

Adapted from Michael Dibdin's acclaimed crime novel Vendetta and from the producers of Wallander, Zen stars Rufus Sewell (Middlemarch), Caterina Murino (Casino Royale), and Ed Stoppard (Upstairs Downstairs).

First things first: Rufus Sewell was MADE to play a role like Aurelio Zen. Smart, stylish, charismatic, yet at the same time adorably, boyishly unsure of himself, he owns the screen every time his character appears (which, thankfully for me, is in nearly every frame of film). :) Similarly to Wallander, Zen is a character burdened by a drive to get the job right - only in Aurelio's case he handles the setbacks his predisposition for honesty and absolute forthrightness have handed him both personally a professionally (seemingly, anyway) better than his Swedish counterpart.

Vendetta opens with the first of two cases that will intersect in unexpected ways as Zen's investigations progress. A high-court judge is ambushed in the Italian countryside by a now-terminally ill ex-con (on compassionate release), Tito Spadola (Peter Guinness) and his son Pepe (Gregg Chillin), who are determined to hunt down and kill the men responsible for sending Tito to prison for a murder he didn't commit years earlier - including one unsuspecting Aurelio Zen. (Never mind that Tito isn't exactly as pure as the driven snow to begin with, or that he really doesn't have a good grasp on the concept that two wrongs don't make a right - it's all about nuance, people, nuance.) Guinness played a small role as the Coroner in Bleak House, while interestingly enough Chillin apparently plays the role of Ron Weasley in the Harry Potter videogames. Guinness, especially, does a superb job playing the unhinged, driven ex-convict determined to exact vengeance against those who wronged him - he's suitably cold-blooded and intense, a great villain for this type of story.

Meanwhile, Zen arrives at police headquarters in Rome, and with just a look as only Rufus Sewell can give we see just how smitten he is with his boss's new secretary, the gorgeous Tania Moretti (Caterina Murino). Murino should be familiar to fans of James Bond films, as she played the ill-fated Solange opposite Daniel Craig in Casino Royale. Zen might not quite have down how to talk to Tania, but thank goodness he's classy enough not to participate in the office pool betting on who will sleep with her first (*sigh*). Moscati (Stanley Townsend), Zen's superior, informs him that they've been called to the Ministry for a pre-trial review of the evidence in the case of a murdered influential billionaire Oscar Faso (Alessandro Cica) and his call-girl "house guests." Minister Geurchini (Anthony Higgins) and his aide, Colonna (Ben Miles), want the case against the prime suspect (and Faso's business partner) Favelloni (Greg Wise) locked up tight, despite the lack of hard evidence and a sloppy investigation by the local police. Ed Stoppard is also introduced as Zen's workplace thorn, the oily, self-assured Vincenzo Fabri. Stoppard was seen earlier this year as Sir Hallam in the Masterpiece re-boot of Upstairs Downstairs.

The introduction of Zen's workplace introduces a slew of familiar faces. Stanley Townsend does an excellent job portraying Zen's gregarious, stressed-out supervisor, and if he looks familiar you might be a fan of Sherlock or Foyle's War. Anthony Higgins made a fairly recent appearance on the blog when I reviewed the Marple episode The Secret of Chimneys (my review). I vastly prefer Higgins's portrayal of a sauve Italian diplomat than a faux Herzoslovakian count. *wink* Ben Miles as his aide, Colonna, should be quite a familiar face to fans of period drama - he's appeared in the Marple episode A Pocket Full of Rye (my review), Lark Rise to Candleford, and Under the Greenwood Tree. As Colonna, Miles just exudes danger, a politician who'll do whatever it takes to achieve his goals, and I look forward to seeing how Colonna's somewhat strained interactions with Zen develop over the course of this series. And finally, I was thrilled to see Greg Wise as prime suspect #1 Favelloni, who "finds God" in prison and recants his "forced" confession, to the government's everlasting chagrin. Wise has been a favorite of mine ever since his unforgettable turn as Willoughby in the 1995 Sense and Sensibility. More recently he appeared in Cranford. I never would've imagined Wise playing an Italian, but with his lean good looks and sauve manners he acquits himself with aplomb in this episode.

In a nutshell, Moscati wants Zen to ensure Favelloni's conviction, Colonna wants Zen to prove Favelloni's innocence, otherwise the businessman might reveal unsavory secrets about his dealings with the current government, and he has to avoid getting killed by Tito & company. For help in unraveling the tangled mess of his professional life, Zen turns to a former associate now working in the private sector, Gilberto Nieddu (Francesco Quinn). If Quinn looked familiar, it turns out he's the son of legendary actor Anthony Quinn, who also did a stint on 24 (back in 2003 when I still watched that show).

At this point I feel the need to just break off and discuss various points of Rufus Sewell-related awesomeness in this episode. So if you'll indulge me... :)

• Zen gets offended when the Minister & his aide comment on his reputation for scrupulous honesty. Disturbing questions aside that this moment raises about the Italian justice system, isn't Rufus's faux outrage adorable?
• Zen wears Armani suits and lives with his Mamma (Catherine Spaak). Only someone who looks like Rufus Sewell and is all attentive and solicitous as only he can be is capable of making this work, nevermind APPEALING. *wink*
• When Tania asks for Zen's help in fabricating an excuse to leave her (presumably) overbearing husband for the evening, he gets so worried when she doesn't answer the phone that he drives to her apartment building (so sweet!). Then, when he drops her off at a bar and sees her leave shortly thereafter with a guy (who turns out to be a gay best friend), HE BANGS HIS HEAD AGAINST THE STEERING WHEEL. I don't think I can begin to fully articulate how perfect that moment was. *swoon*
• Zen can wake up in a cold sweat from a bad dream, retch in the bathroom sink, and then don a sharp suit and slurp down espresso, all while allaying his mother's concerns. Rufus Sewell should look into patenting this highly effective retch-to-heartwarming pivot thing. He has it down.
• After Zen and Tania have after-hours drinks and share a sort of His Girl Friday moment, he kisses her goodbye on the cheek. Check that, BOTH cheeks. Excuse me while I swoon, again.

More on Rufus later...this is an ongoing theme, obviously.

Filmed on location in Italy, besides Rufus Sewell's presence the film's gorgeous scenery and architecture are some of its biggest strengths. The film is saturated with warmth and color and history that adds a wonderfully exotic, intoxicating atmosphere to the storyline. Perhaps one of this episode's biggest draws is that it just feels so different from the normal mystery program Masterpiece airs (never underestimate the power of something new, hmm?). One of my favorite scenes is the episode's most harrowing - when Zen follows the itinerant girl Lucia into the network of caves that lead into Faso's mansion and is carried deep underground, lost in the watery maze. I don't know that I'm outright clausterphobic, but tight spaces aren't my favorite thing in the world, and that scene was tense, suspensful, and well-constructed. (And only Rufus could come out of that scenario battered and bloodied and still looking remarkably well put-together.)

I will confess that until reading the episode summary I had a little trouble keeping all of the characters' names straight and following some of the finer plot points as they unfolded. I attribute some of that to the mix of British and Italian actors, the latter with heavier accents, and PBS trimming potential five-plus minutes of the episode runtime for commercials (as is their norm for Masterpiece broadcasts, unfortunately). It probably goes without saying, but I'm looking forward to reviewing this episode on DVD.

It's probably hard to believe that I could find more to gush about, but really this episode does deliver the proverbial icing on the cake in spades. SPADES, I tell you! This episode ends with Zen and Tania passionately kissing in the elevator, and in case you're new to this blog I'm a big fan of Rufus Sewell in elevators (for prior evidence see the ShakespeaRe-Told adaptation of The Taming of the Shrew - my review). People, Rufus Sewell in an elevator makes my heart sing. MY HEART SINGS, I TELL YOU! (Yes, I can be that shallow. Indulge me and let me revel in it for a bit, please? *wink*).

Sewell and Murino have off-the-charts chemistry, and while I'd certainly prefer that  Zen was officially divorced, and not pursuing a relationship with a married woman, I can only say that when watching this show I was just seeing  Rufus being amazing, and wishing I was Tania. SHALLOW WISH FULFILLMENT, yes people, you read that right. :P

Zen proved to be a thoroughly enjoyable film, an intriguing blend of mystery, political drama, and humor, with a dash of old-school sensibility that recalls the Sean Connery-era James Bond films or the Roger Moore-helmed adventure show The Saint. (Adrian Johnston's quirky, sunny score really reinforces the "throwback" feel of the episode.) And with Rufus Sewell being freaking fantastic, it's a guaranteed bet I'll be tuning in next week. If you watched Zen's debut, I'd love to hear your thoughts!

Exit Question: Can a post contain "too many" Rufus Sewell-as-Zen photos? (Think carefully before you reply in the negative...) *wink*

• Watch Vendetta online through 8/31/11
• Preorder Zen on DVD from Amazon

Glorious 39

I have a feeling that Glorious 39 is either a movie people like or they can't stand. It's not a film that delivers easy, clear answers and closure - and it's not without its flaws. But personally, I found it to be enormously thought-provoking, a gripping and thoroughly absorbing piece of cinema. I'm SO glad it finally released on DVD! I had completely forgotten about it - it's been about three years since I saw trailers break online, and I hoped (vainly, as it turns out) that the film would see a limited release in my area since it features a memorable performance by m'darling DAVID TENNANT. Alas, a theatrical viewing was not to be, and it was only by chance that I saw an advertisement announcing the movie's DVD release. On to the story...parts of this review will probably be very spoiler-y since I want to set my thoughts about the film "on paper" as the saying goes. So be warned. :)

The film opens in the present day, with young Michael (Toby Regbo) visiting some distant cousins, brothers Walter (Christopher Lee) and Oliver (Corin Redgrave). Walter and Oliver seem uneasy with Michael's visit, especially when he asks about what really happened to his mysterious great aunt Anne Keyes, who disappeared during the war. Bu any uneasiness Walter and Oliver may feel with their young cousin digging up the past is quickly overshadowed by Walter's desire for an audience and the chance to revisit that glorious summer of 1939, before the outbreak of World War II changed everything. The tagline of this film is "you can't always run from the past," and we see the older Walter discover this to be true as his complicity in the events surrounding Anne's fall from the family's grace is revealed.

I absolutely love the look of the film as it begins to take us into the flashback. The family estate, the setting for so much heartbreak, is gorgeously rendered on-screen. Everything appears sublimely idyllic in the lives of the Keyes family - yes, conflict is on the horizon with Hitler's aggression in Europe, but what could that possibly have to do with their lives so far away, so secluded and removed from the hustle and bustle of London and political drama. Oldest adopted daughter Anne (Romola Garai) and her brother Ralph (Eddie Redmayne) and sister Celia (Juno Temple) appear to be as close as one could wish, dashing among the ruins, privileged and without a care in the world - until they are brought short by the image of a burial. The stark contrast to their carefree play is only a hint of the shadows that will soon overcome this privileged family.

Anne has invited two friends to the family home to help celebrate her beloved father's birthday - Sir Alexander Keyes (Bill Nighy), a World War I hero and a respected Member of Parliament. Hector Haldane (David Tennant), also an MP, is just a friend, while Lawrence (Charlie Cox) is a lover yet to be introduced to the family. Alexander brings an unexpected guest home with him, Balcombe (Jeremy Northam), an unsettlingly quiet and reserved government employee. Over the birthday dinner, Hector becomes quite outspoken about his fervent belief that Hitler must be stopped and that the current government's policy of appeasement is not only not working but dangerous, because "evil has to be stood up to." A bit of an aside - it's absolutely fantastic to see Tennant in his role with his Scottish accent. Excuse me while I swoon. And Tennant's scenes are even more swoon-worthy given his character's passionate stance against Hitler and the the threat of appeasement. Hector is a character who was determined to make a stand, and I loved that.

Shortly after the birthday dinner, Anne ventures into her father's previously forbidden outbuildings on the estate in search of a lost cat. There she discovers records, labeled as fox trots or popular songs, that don't contain music but instead are recordings of meetings - meetings she thinks little of until her friend Hector is found dead of an apparent suicide. Anne conjectures that the mysterious Balcombe could have something to do with Hector's death - she's wary of the recordings and everyone's reticence to explain the true nature of Balcombe's government work. As the stress of the mystery of the recordings and Hector's death mounts, Anne finds herself under fire as her own well-being and mental acuity are called into question.

I think I'll stop there, because this film is a journey worth experiencing yourself - if I've succeeded in hooking your interest. :) Let's talk about the construction of the film itself and some of the performances. Glorious 39 is written and directed by Stephen Poliakoff. I confess to being unfamiliar with his work save for the Masterpiece production The Lost Prince. Despite some hiccups in tone and editing, Glorious 39 is a carefully constructed film, each scene increasing the tension and suspense factor exponentially. In some respects it is reminiscent of an Alfred Hitchcock film (note I'm not saying it's on that level, just similar!) - for the most part, the suspense comes from really well layed-out and gradually increasing psychological tension, not gore or scenes that only have "shock" value (this holds true until the last fourth of the film anyway).

I'm a pretty big fan of Romola Garai's work - ever since her appearance in 2002's Daniel Deronda she's continued to grow and mature as an actress, and her latest Masterpiece appearance in Emma is one of my favorites. I happened upon this review of Glorious 39 which likens Garai's performance as Anne to Ingrid Bergman in a Hitchcock picture, and the more I mull over that comparison the more I find that I agree with it. Anne possesses the same balance of wide-eyed innocence and strength that Bergman projected in films like Spellbound or Notorious (especially the latter IMO). And though it's not a Hitchcock picture, the psychological terror brought to bear against Anne, and her reaction to it, reminds me of the terrorized wife Bergman plays in Gaslight. The final act of Glorious 39 takes a marked turn towards the melodramatic that I think will be off-putting to some viewers. It calls into question the veracity of some of the events we've seen play out to that point, but the tone and direction worked for me.

Glorious 39 skates a delicate balance between taut psychological thriller and melodrama, and while I wouldn't say it manages that balance perfectly the end product worked for me. It seems only natural to me that the continued strain placed upon Anne by the events of the film would bring her to the point of a psychological breakdown. I think that's why the last fourth of the film takes on an almost unreal aspect when Anne visits the country vet in order to put the family pets to sleep. My take on the scene where Anne enters the barn filled with animal corpses waiting to be burned is that its some sort of comment on how the coming war will consume even the most innocents wholly and completely. I don't think it's a comment on the Holocaust, as the emotional impact of the scene feels more generic and broadly directed to me.

Poliakoff has crafted a film that addresses reality vs. imagination, truth vs. fiction, and trust vs. lies. As privileged members of the British aristocracy in the 1930s, Anne's family was wholly invested in maintaining the status quo at all costs. The lengths they are willing to go to in order to accomplish their aims are positively chilling, and may leave you pondering - as it did me - just how you might have reacted were you unfortunate enough to find yourself in Anne's situation. I think if the film hadn't made quite so sharp a turn towards over-the-top melodrama in the final act that the resulting movie would have been tighter and more focused.

If you're interested in this film but concerned about the R rating, that is mainly for the way psychological tension builds throughout the movie. When the deaths are involved there is some blood but the scenes are not overly graphic. The one "almost" love scene where Charlie Cox's backside is revealed is completely unnecessary. Romola Garai drops several f-bombs toward the movie's finale, which are quite jarring given her almost genteel on-screen presence, but in the context of the story and what Anne has endured you may find it understandable.

A few quick additional acting shout-outs...I just love Bill Nighy and he was spectacular as Anne's father. His calm, solicitous demeanor throughout the film is positively chilling. You can totally understand how hard it would be for Anne to come to terms with this, for all appearances kind and loving man, being involved in an appeasement effort that advocates the violent intimidation and silencing of protesters. I also love Jeremy Northam, and have to give him kudos for playing against the more heroic, gentleman-like type of role I'm more accustomed to seeing him play in period films. It was a real treat to see Julie Christie as Anne's Aunt Elizabeth - Christie just oozes class, and though her complicity in the plot to "teach Anne a lesson" is never directly addressed, her laser like focus on frivolous matters stands in stark contrast to the dark events on the horizon with the advent of war. Hugh Bonneville gives a great turn as Anne's actor friend Gilbert, whose life is also sacrificed for discovering too much about the appeasors' activities.

Since I love film music, I have to mention composer Adrian Johnston provides the film's gorgeous score (he worked on Becoming Jane). And in addition to Poliakoff's work as writer and director, I have to give credit to the editors and cinematographers that worked on Glorious 39 - the editing in this film is, for the most part, so good at never letting up on the tension and suspense! And the look of the film, from the settings to the costumes is simply sumptuous. The stark dichotomy between the outward beauty of the Keyes family's lives and the inward corruption is really well played out. If you liked Atonement, I think you'd enjoy Glorious 39. Both films are similarly thought-provoking stories that address questions of truth and honor without providing pat or easy answers.

And finally, if you actually made it through this review, thanks. I know it's a long one. :) If you've seen Glorious 39 I'd love to discuss - it's been a couple of days since I watched it and I feel like I'm still processing it in many respects!