SALON

Friday, Aug 8, 2008 6:44 PM UTC

“Elegy” for a topless bombshell

Pen

By

Topics: Fiction, Beyond the Multiplex, Philip Roth, Dennis Hopper, Movies,

Samuel Goldwyn Films / Joe Lederer

Ben Kingsley as David Kepesh and Penelope Cruz as Consuela Castillo in “Elegy.”

I’m finally dragging my ass to the task of writing about “Elegy,” a film adaptation of Philip Roth’s novel “The Dying Animal” that’s a curious hybrid indeed. It offers Ben Kingsley and Penélope Cruz in the best performances of their recent careers, as an older professor and his ex-student turned lover (and, as advertised, there are long, contemplative, art-history-lecture style shots of Cruz’s naked torso). This coupling is gracefully handled by Isabel Coixet (“The Secret Life of Words,” “My Life Without Me”), a Spanish filmmaker with an exquisite visual sensibility and a reverent, slightly over-precious approach to her craft.

Then there’s the screenplay by Nicholas Meyer, a Hollywood veteran whose career includes three “Star Trek” movies and a best-selling Sherlock Holmes novel, along with a previous Roth adaptation (“The Human Stain”). He sticks closely to the characters and story of “The Dying Animal,” arguably one of Roth’s bleakest and most misanthropic novels — until the end of the film, when Meyer cooks up a completely new, movieland-style denouement. The movie that results from blending all these ingredients, while excellent in many technical respects, is a muted, pretty, anesthetic concoction that’s never fully satisfying.

That said, the complementary but completely different performances by Kingsley and Cruz are worth seeing, and Coixet gets full credit for dragging both of them out of their comfort zones. As the 60ish cultural scholar David Kepesh, Kingsley has a fire and vivacity I haven’t detected in his recent roles since “Sexy Beast.” He can’t seem to play Americans without resorting to mannered, tic-laden performances like those in “The Wackness” and “You Kill Me,” but Kepesh (at least in his film incarnation) isn’t quite an American. He’s a suave, trans-Atlantic transplant, a British Jewish intellectual hardened to a point by his years in New York academia. He trades quips with Charlie Rose and presides, in lordly fashion, over graduate student gatherings.

It’s at one of these parties in his implausibly grand Manhattan apartment — OK, he’s sold some books and hosts a radio chat show, but still — that Kepesh makes his move on Consuela Castillo (Cruz), who’s just completed his class and is hence fair game. He likes her not just because she’s a smokin’ Latin bombshell but because her composure and affect identify her as a fellow outsider. She’s a Cuban immigrant from a conservative background who looks and dresses like a high-end legal secretary, which is what she was before deciding to pursue an academic career. Whether or not it’s because the director is a Spanish woman, this is Cruz’s breakthrough English-language performance. Consuela is a difficult character, both a sheltered flower and a confident intellectual, but Cruz anchors her in a soulful certainty.

Say whatever you want about the ickiness of the older man-younger woman dynamic, but it doesn’t seem mysterious that Consuela responds to Kepesh and even falls in love with him. He’s a cultured and worldly man, an intellectual mentor, and also a man who withholds himself emotionally, a conscious or unconscious tactic that, in movies as in life, tends to drive women nuts. It’s somewhat less clear precisely why Kepesh keeps excusing himself from dates with Consuela’s parents, never introduces her to his best friend — a Pulitzer-winning poet played delightfully by Dennis Hopper — and refuses to end his no-strings sexual relationship with a divorced friend (Patricia Clarkson). I suppose the murkiness is intentional, but it leaves the psychological center of the story uncertain.

Coixet’s individual images are marvelous constructions (as captured by cinematographer Jean-Claude Larrieu), and she frames the human face with a Bergmanesque intensity. But she’s such a fussy filmmaker, never using one shot when five will do, that I think she subtly exhausts the viewer and drains the picture of vitality. It’s a little like bombing through the Prado until your feet hurt, instead of taking your time and absorbing the work in a couple of galleries. Speaking of art museums and the female nudes often found therein, the already-famous lingering shots of Consuela’s breasts capture them as something akin to a wondrous work of Creation, but completely without prurience. Perhaps the feminist idea that the “female gaze” is intrinsically different is valid after all. Whether Coixet’s gaze is meant to capture Kepesh’s simultaneously lascivious and infantile obsession with Consuela’s poitrine or some objective, aesthetic perspective is once again not quite clear.

Between the marvelous lead performances and the arty, enervated feeling of the mise-en-scène, “Elegy” is already a mixed bag. But the filmmakers lack the courage to stick with Roth’s original gloomy conclusion, so while Consuela, Kepesh and the latter’s estranged son (Peter Sarsgaard) face the same crises as in “The Dying Animal,” the whole sour, Rothian mess of cowardice and mortality is finally wrapped in pink tissue paper and presented to us in a tasteful gift box. There’s an inordinate amount of talent on display in “Elegy,” but it ultimately reveals itself as an upper-middlebrow commercial concoction. It’s beautiful, but nobody involved was ever sure what the movie was actually about, or why they were making it.

“Elegy” is now playing in New York, Los Angeles and other major cities, with wider release to follow.

Andrew O

More Andrew O'Hehir.

You Might Also Like

More Related Stories

Featured Slide Shows

7 motorist-friendly camping sites

close X
  • Share on Twitter
  • Share on Facebook
  • Thumbnails
  • Fullscreen
  • 1 of 9

Sponsored Post

  • White River National Forest via Lower Crystal Lake, Colorado
    For those OK with the mainstream, White River Forest welcomes more than 10 million visitors a year, making it the most-visited recreation forest in the nation. But don’t hate it for being beautiful; it’s got substance, too. The forest boasts 8 wilderness areas, 2,500 miles of trail, 1,900 miles of winding service system roads, and 12 ski resorts (should your snow shredders fit the trunk space). If ice isn’t your thing: take the tire-friendly Flat Tops Trail Scenic Byway — 82 miles connecting the towns of Meeker and Yampa, half of which is unpaved for you road rebels.
    fs.usda.gov/whiteriveryou


    Image credit: Getty

  • Chattahoochee-Oconee National Forest via Noontootla Creek, Georgia
    Boasting 10 wildernesses, 430 miles of trail and 1,367 miles of trout-filled stream, this Georgia forest is hailed as a camper’s paradise. Try driving the Ridge and Valley Scenic Byway, which saw Civil War battles fought. If the tall peaks make your engine tremble, opt for the relatively flat Oconee National Forest, which offers smaller hills and an easy trail to the ghost town of Scull Shoals. Scaredy-cats can opt for John’s Mountain Overlook, which leads to twin waterfalls for the sensitive sightseer in you.
    fs.usda.gov/conf


    Image credit: flickr/chattoconeenf

  • Nordhouse Dunes Wilderness Area via Green Road, Michigan
    The only national forest in Lower Michigan, the Huron-Mainstee spans nearly 1 million acres of public land. Outside the requisite lush habitat for fish and wildlife on display, the Nordhouse Dunes Wilderness Area is among the biggest hooks for visitors: offering beach camping with shores pounded by big, cerulean surf. Splash in some rum and you just might think you were in the Caribbean.
    fs.usda.gov/hmnf


    Image credit: umich.edu

  • Canaan Mountain via Backcountry Canaan Loop Road, West Virginia
    A favorite hailed by outdoorsman and author Johnny Molloy as some of the best high-country car camping sites anywhere in the country, you don’t have to go far to get away. Travel 20 miles west of Dolly Sods (among the busiest in the East) to find the Canaan Backcountry (for more quiet and peace). Those willing to leave the car for a bit and foot it would be remiss to neglect day-hiking the White Rim Rocks, Table Rock Overlook, or the rim at Blackwater River Gorge.
    fs.usda.gov/mnf


    Image credit: Getty

  • Mt. Rogers NRA via Hurricane Creek Road, North Carolina
    Most know it as the highest country they’ll see from North Carolina to New Hampshire. What they may not know? Car campers can get the same grand experience for less hassle. Drop the 50-pound backpacks and take the highway to the high country by stopping anywhere on the twisting (hence the name) Hurricane Road for access to a 15-mile loop that boasts the best of the grassy balds. It’s the road less travelled, and the high one, at that.
    fs.usda.gov/gwj


    Image credit: wikipedia.org

  • Long Key State Park via the Overseas Highway, Florida
    Hiking can get old; sometimes you’d rather paddle. For a weekend getaway of the coastal variety and quieter version of the Florida Keys that’s no less luxe, stick your head in the sand (and ocean, if snorkeling’s your thing) at any of Long Key’s 60 sites. Canoes and kayaks are aplenty, as are the hot showers and electric power source amenities. Think of it as the getaway from the typical getaway.
    floridastateparks.org/longkey/default.cfm


    Image credit: floridastateparks.org

  • Grand Canyon National Park via Crazy Jug Point, Arizona
    You didn’t think we’d neglect one of the world’s most famous national parks, did you? Nor would we dare lead you astray with one of the busiest parts of the park. With the Colorado River still within view of this cliff-edge site, Crazy Jug is a carside camper’s refuge from the troops of tourists. Find easy access to the Bill Hall Trail less than a mile from camp, and descend to get a peek at the volcanic Mt. Trumbull. (Fear not: It’s about as active as your typical lazy Sunday in front of the tube, if not more peaceful.)
    fs.usda.gov/kaibab


    Image credit: flickr/Irish Typepad

  • As the go-to (weekend) getaway car for fiscally conscious field trips with friends, the 2013 MINI Convertible is your campground racer of choice, allowing you and up to three of your co-pilots to take in all the beauty of nature high and low. And with a fuel efficiency that won’t leave you in the latter, you won’t have to worry about being left stranded (or awkwardly asking to go halfsies on gas expenses).


    Image credit: miniusa.com

  • Recent Slide Shows

  • Share on Twitter
  • Share on Facebook
  • Thumbnails
  • Fullscreen
  • 1 of 9

Related Videos

Comments

 12 Comments

Comment Preview

Your name will appear as username ( settings | log out )

You may use these HTML tags and attributes: <a href=""> <b> <em> <strong> <i> <blockquote>

follow salon

Most Read

Popular on Reddit

links from salon.com

vote
Let's Stop Screwing Around and Impeach James Clapper: After lying to Congress about all the different ways the NSA's spying on us, Director of National Intelligence James Clapper lies about how he lied. Call the White House at 202 456-1111 and Tell Obama to Get Rid of Clapper
477 points478 points | 22 comments
vote
Let's Stop Screwing Around and Impeach James Clapper: After lying to Congress about all the different ways the NSA's spying on us, Director of National Intelligence James Clapper lies about how he lied. Call the White House at 202 456-1111 and Tell Obama to Get Rid of Clapper
359 points360 points | 29 comments
vote
Machiavelli doesn’t belong to the 1 percent | "The Prince" is oft-quoted on Wall Street, but its author was a hero of the working class who despised elites
89 points90 points | 33 comments
vote
Yes, there is a better search engine (1998)
88 points89 points | 25 comments
vote
Let's Stop Screwing Around and Impeach James Clapper: After lying to Congress about all the different ways the NSA's spying on us, Director of National Intelligence James Clapper lies about how he lied. Call the White House at 202 456-1111 and Tell Obama to Get Rid of Clapper
82 points83 points | 9 comments

From Around the Web

Presented by Scribol
listener_new_rect The Listener: "The Joker": Laughing at life's deepest sorrows