Actors -- and I'm speaking of both genders -- are an interesting breed of person. Able to transform themselves into other characters, they're truly human chameleons. While some are good at playing completely different creations, others make a living essentially playing the same character in different roles. After years of portraying different people, however, some of these performers suddenly get the bug to direct their own feature. Whether it's ego-driven -- where they decide they can do it better than those they've worked with in the past -- or simply a means to spread one's wings artistically, there have been many fabulous success stories regarding that crossover.
Some actors decide to go after small pictures that allow them to test the waters without fear of drowning in the abyss of commercial and critical pressure. Mel Gibson chose "The Man Without A Face" and "Tom Hanks" went with "That Thing You Do." Others, though, decide to throw all caution to the wind and tackle huge, epic productions, such as Kevin Costner with his Oscar- winning film, "Dances With Wolves." While some have continued to both act and direct (Clint Eastwood), others have pretty much given up their first career for their second (Ron Howard).
All of which leads us to Alan Rickman. What approach he'll take to his new dual career is unknown at this point, but his freshman attempt is a decent, but ultimately flawed attempt. By now many of you might be asking, "Who's Alan Rickman?" You might not know the name, but you probably know the face and his performances. Best known for his brilliant take as the suave and sophisticated villain, Hans Gruber, in the original "Die Hard" movie, Rickman has had a decent career ranging from playing ghosts ("Truly, Madly, Deeply") to despicable leaders ("Rasputin") to romantic figures ("Sense and Sensibility"). So what directorial approach has Rickman taken after nearly a decade of acting?
With "The Winter Guest" he's decided to go small. Clearly a character-driven story, Rickman co- wrote this feature that's based on Sharman MacDonald's stage play about friendships and self- discovery. Although we never definitely know who (or what) the "winter guest" is, symbolically it's probably the cold winter day that plot-wise is the only common bond amongst the characters. With a heavy emphasis on dialogue and none on action or special effects (other than the illusion of a frozen over sea), Rickman has created a film that will probably polarize moviegoers. Some might be mesmerized by all of the symbolism (the coldness of the weather and some of the characters for instance), while others might find it a bit heavy handed and presumptuous, or just simply boring.
It definitely has a theatrical feel to it, and one can nearly see the "action" taking place behind the proscenium where the four sets of people occupy different parts of the stage. Taking turns weaving their stories, their setting on a cold winter's day would be easy to create theatrically. What makes Rickman's adaption interesting is that despite the inherent theatrical trappings, he's used that cold winter day nearly as another character. These performers aren't trapped on a stage, but instead go out into the winter -- through the barren landscapes and out onto the frozen sea. While it sounds like a play -- and could easily have been a very static production -- it looks and very much feels like a movie. It's a nice touch, especially from a novice director.
What's somewhat disappointing, though, is the story itself. While the dialogue is good, the four mini-plots never really connect and many of the characters are ambiguous at best. Often we're left to our own devices to figure out who these people are, and what their stories mean, and while that sometimes works on stage, it often leads to frustration at the cinema. Obviously one can take a stab at what all of this is mean to represent -- letting go of the past, accepting changes that continue throughout life, etc... -- but you'll never be quite sure, especially with your first impression.
The strongest part of the movie deals with the mother/daughter relationship and what makes it fly are the performances from real life mother and daughter, Phyllida Law and Emma Thompson. There's never a doubt that these two (as characters) have a long relationship together, simply because those inhabiting them already have the roles down pat. Law steals the show (and makes one think her character is the long lost sister to Debbie Reynolds from "Mother"), and creates an interestingly complex character. Four-time Oscar nominee Thompson (who won for "Howards End"), usually oozes radiance on the screen, but this time plays down her persona and delivers a troubled and depressed creation. She's certainly not fun to spend two hours with, but is always amazing to watch.
The rest of the performances are good, but they suffer from a serious lack of character development. Probably fairing the best are Murphy and Biggerstaff as the two young boys dealing with the pangs of puberty, while the weakest are Reid and Voe as the elderly funeral crashers. While they have a few poignant as well as funny moments, we just don't know enough about them to really get into their characters. Likewise, Gary Hollywood and Arlene Cockburn have a sensuality about them, but beyond that they're enigmas to everyone. Although it's pretty obvious that the characters (other than Frances and her mom) aren't fully developed on purpose (an avant-garde theatrical device), it hurts the picture by not allowing us to really care about them.
Still, Rickman shows that he clearly has a knack for letting the actors do their thing (despite the inherent development limitations) and certainly has a cinematic eye. Despite the constant frigid, bleak and overcast setting, the film is always easy to watch (obviously created with the help of cinematographer Seamus McGarvey). Looking at the film solely as a freshman directorial attempt, it's not that bad. As a film standing on its own, however, its ambiguity in both character and plot weaken what might have been a much better film if both had been more developed. A slow moving, dialogue driven feature, this film will probably have a limited run at the theaters before heading to the small screen. We give "The Winter Guest" a 4 out of 10.
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