Archive for The Abdication

Queen Christina Rides Again

Posted in FILM, Theatre with tags , , , , , , , , on October 6, 2012 by dcairns

Kathleen Byron (Sister Ruth!), left.

Anthony Harvey is best known for his James Goldman adaptations, THE LION IN WINTER and THEY MIGHT BE GIANTS. Both are strong texts with excellent casts, but never felt very filmic to me. Harvey, a former editor, achieved some neat cutting effects but the feeling of “filmed play”, or even “televized play”, hung over the proceedings. I still like them, though.

DUTCHMAN, his first movie, is eminently theatrical but incredibly, electrifyingly powerful in what has to be called a “cinematic” way at the same time, despite being confined entirely to a single subway train carriage. More on that here.

THE ABDICATION, lavishly staged in Italy and shot by Geoffrey Unsworth (2001, CABARET, TESS) takes a play by Ruth Wolff that’s virtually a two-hander, and explodes it with grandiose settings, expressive, almost flashy editing, flashbacks, and a lush Nino Rota score. It could have been overpowering, but I think it achieves a kind of balance.

It’s the story of Queen Christina (“the great Svenska dyke,” as Peter O’Toole put it) after her abdication, as she attempts to convince a cardinal (Peter Finch) that her conversion to Catholicism is sincere. This turns into a sort of psychotherapy session during which she falls in love with her interrogator, tipping her hand with the gift of an inappropriate porn goblet ~

Liv actually seems to be having fun with the material, and the literate script delivers both snappy, rhythmic exchanges of the kind that can feel too artificial onscreen if you’re not careful, and more languid speeches that let things breathe. When Liv has a breakdown in flashback, pressing herself against a wall in terror, we’re close to Bergman terrain, but the style, all widescreen, fog filters, golden lens flare and surging montage, is the very opposite.

Here, Unsworth’s vaseline smears convert the sun’s rays to a weird gold slash, rather unlike anything found in nature — a striking effect, for sure. The movie is almost TOO beautiful, and anybody who has a resistance to David Lean type grandeur would probably find it hard to take. We rather loved it.

Advertisements