Howdy Ho Brother Harry,

This here be Enigma Boy. Tonight I got myself into the special advanced screening of Philip Kaufman’s newest film QUILLS, a story about the Marquis de Sade. I shouldn’t say that I “infiltrated” the screening, because truth be told, I went with my mom after winning a pair of tickets in the San Francisco Chronicle. Tonight was extra special because there was the promise of seeing a short Q&A session between local SF film critic Ruthe Stein (who looks like a 50-year old Laura Kightlinger (and the pair of director Philip Kaufman (THE RIGHT STUFF) and star Geoffrey Rush (SHINE). As I am a star-struck teenager, I was awestruck to be in the presence of Casanova Frankenstein, whom he does basically look like. The Q&A wasn’t terribly interesting, but it was enough to keep me pleased. And on a geek note: George Lucas was sitting a few rows back from me. I tried to find him after the screening, but either he left before I could get a chance, or I was a moron and didn’t see him as I exited the theater. I realize now that by failing to get George Lucas’ autograph, I have failed as a geek. *sniff* For punishment, I’m going to dunk myself headfirst into a toilet bowl. Be right back…

…Okay, now that’s done with, on with the review. QUILLS tells the story of the later years of everyone’s favorite perverse French author, the Marquis de Sade. At the beginning of the film, he has been living in an insane asylum, secretly writing manuscripts that are discreetly being leaked to the outside world and published anonymously. The film chronicles the effort to attempt to silence these writings. As the lives of four characters are affected greatly, each with their own perfect little story, the plot advances unpredictably, every once in a while hitting us with something so shocking or profound that I was taken back. Geoffrey Rush, as mentioned before, plays the Marquis de Sade with a whimsical madness that we could expect from the recent Oscar-winner for SHINE. Joaquin Phoenix (GLADIATOR) plays Abbe Coulmier, the head of the asylum, who is having some serious issues regarding his devotion to God. Kate Winslet (TITANIC) plays Madeleine, the chambermaid who aids the Marquis in his writing. The fourth and final character, played by the amazing Michael Caine (recent Oscar-winner for CIDER HOUSE RULES), is Royer-Collard, the doctor appointed by Napoleon to “cure” the Marquis.

Geoffrey Rush has proved himself to be quite a useful actor in the past, also playing such characters as Walsingham in ELIZABETH and Philip Henslowe in SHAKESPEARE IN LOVE (another nominated performance), even if he’s had his casting mishaps (MYSTERY MEN). He is truly amazing playing a “madman” in late 18th century France, amusingly spouting countless double entendres made to make the audience both giggle and shiver at the same time. I have always like his acting, but it is with this performance that I truly realized that he does much of his acting with his hands. In the case of SHINE, he was a piano player (granted, it wasn’t actually him playing the piano in key scenes, but you get my drift). With MYSTERY MEN, Casanova Frankenstein was characterized by his sharp nails, one of which he lunged very humorously at Mr. Furious in that film’s climax. With HOUSE ON HAUNTED HILL (which was a fun popcorn movie, nothing more), the way he held his cigarette as Mr. Price, it was perfect. With QUILLS, as the title suggests, his fingers go through a great deal of writing, with or without quills (you’ll see what I mean while viewing the film). The fingers are characters on their own, but the fact that they are attached to such a talented and noticeable presence makes them that much better.

As with the rest of the cast, Joaquin Phoenix proves once again that he is an underappreciated actor (save GLADIATOR) who is key for characters that go through serious mental anguish. The journey he takes psychologically in this film should help him win a nomination for supporting actor, if there is justice in the world. The emotions portrayed by him are raw and truly powerful. As Madeleine, Kate Winslet comes back into play as a powerful actress, one who sometimes suffocates herself in overblown blockbusters (the aforementioned TITANIC) or in tiny indies (HIDEOUS KINKY and HOLY SMOKE). She supplies much of the center of the story, morally at least. Rounding out the cast is Michael Caine, who plays a villain so detestable that you want to see him punished so badly that you can taste it. All of his motives are honest, albeit coldhearted, and he may very well persuade the Academy to honor him with a nomination instead of Joaquin Phoenix (although I would prefer the latter).

The film has its problems. It’s as if some producer noticed the success of SHAKESPEARE IN LOVE and decided to make something very very similar, except this time much darker, much moodier, and with the visual style of ELIZABETH (interesting how those three films all star Rush). It’s very much like SHAKESPEARE because it deals with a very renowned author, true to life, and placing that person in a semi-fiction plot. Dealing with the plot, none of it is convoluted, but sometimes it just seems strange and oddly unsupported. The way the scenes are structured and set obviously expose the film’s origins as a stage play, which isn’t necessarily a bad thing. Some of the middle lags, but never enough to start disliking the movie. Once the film became more intense, dealing with the madness of the other characters, it was then that I started to really enjoy it.

Overall, it’s a very powerful and unique film, one that is Oscar-bound, although not necessarily best picture material. It’s definitely worth your money, and a great place to see four incredible performers show their acting chops.

Until next time, O fearless leader, and respect the beetle.

Enigma Boy