A Scientist at the Movies Reviews by Greg Paris

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Title: Possession

Date Viewed: 8/31/02, 9/10/02

Details:

Gwyneth Paltrow

Aaron Eckhart

Jeremy Northam

Jennifer Ehle

Lena Headey

Holly Aird

Director: Neil LaBute

Original novel: A. S. Byatt

Screenplay: David Henry Hwang

Score: ++

The Review: Excellent. A literary romance crossed with a bit of historical mystery and some detective work; it happens to embody one of my favorite plot devices: the discovery and interpretation of hidden and hitherto unknown documents or artifacts.

Taken from the (UK) Booker Prize-winning and NY Times best-selling novel of 1991, Possession has two unfolding parallel and interpenetrating threads -- a pair of contemporary academic literary historians slowly uncovering correspondence and diary evidence of the private lives of long forgotten artists -- paralleling (and intercut with) a historical period drama in which we watch these same artists at work and play, discovering themselves: exploring similar country-sides, experiencing similar passions. Although the brash American research associate on fellowship in London (Eckhart: "...on the dole") starts the quest with more supposition and imagination than solid evidence, Paltrow willingly, then eagerly, joins the hunt.

The film (and the novel) takes the academic world of literary evidence & commentary, and opens a fresh look into its processes and excitements. This view is decidedly neither cold nor barren (how can it be, with Paltrow and Ehle in the fore?!), and the topics -- arcane that they might seem to the audience, initially -- do indeed excite the players.

Good cinematography in the wilds and coast of Yorkshire, with some intriguing camera work -- establishing shots that cross time -- that effectively pan back and forth between the two worlds.

There is much in common structurally with the film version of John Fowles' (1969) novel The French Lieutenant's Woman (1981: Karel Reisz; with a very good screenplay by Harold Pinter), where there is a developing parallel between the actors making a film, and the characters they portray in the film. This becomes even more pronounced when combined with the remarkable visual and facial similarity between actresses Meryl Streep (FLW) and Jennifer Ehle (P), and the mannerisms of their characters.

The four main characters (Northam & Ehle, past; Paltrow & Eckhart, present) are very well cast and fit perfectly into their on-screen roles. Ehle is a relative newcomer to the big screen, and I hope we see more of her. Her character appears at first hesitant and plain, but as La Motte and Ash develop a deep relationship, it becomes clear how much of a beauty she really is.

(It seems curious that the research budgets and academic teaching schedules present no barrier for these two literati to go gallivanting off across the countryside for days on end -- some of us have day jobs!)

Byatt's novel has spawned some curious, well-written (and persistent) on-web commentary, ranging from a discussion of the "reading versus interpretation" debate, frequently encountered in freshman English Lit, couched as a narrative summary of the novel (Whitsitt), to a description by the author herself of her three portraits of the (fictional) laureate, their origins and why she used them (Byatt). Both readings are articulate and interesting, but beware, for a spoiler warning applies to both these links -- i.e., read them AFTER seeing the film.

Was Queen Victoria's poet laureate really named Randolph Henry Ashe? Was there really a reclusive Victorian poet named Christabel La Motte? Who cares?! -- it works, and it's wonderful. Recommended.

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