Wednesday, 22 January 2014

Good Woman
(2004)

RATING:80%
FORMAT:Cinema

Witty look at sexual relations among the monied classes whose only real flaw is a certain inability to match its superficial style with its substance.

The gossipy females in abundance here are simply jealous that their lives are somewhat less interesting than the lives of those they so fervently gossip about. This leads to the central conflict between those who take people as they find them and those who see others only through hearsay; thus refusing to use their own independent judgment.

Helen HUNT is quite brilliant as the kept woman and makes of Tom WILKINSON an ideal companion. She dominates proceedings as the independent woman who readily fascinates men and is thus able to make the best of herself in a world with few choices for clever women.

Ultimately, this movie is about forgiveness of sins: ‘Every saint has a past; every sinner a future.’ It is also a quiet and unassuming disquisition on living without regret - by taking personal responsibility for one’s actions – and the personal integrity that can come from realizing that no one is perfect, nor is required to be.

Oscar Wilde’s limited sexual wit is not as profound as a Carry On film, but his wordplay is certainly cleverer formalistically: It is just as funny and just as woman centered.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.