CLOSER
On the morni ng of the Oscars I caught a 1045 show of CLOSER, hardly the kind of film towake up to.
As a fan of Mike Nichols' WHO'S AFRAID OF VIRGINIA WOOLF/ and CARNAL KNOWLEDGE, I was looking forward to a return to form. Although Nichols did a good job of making us forget its stage origins, and the production design was excellent as well as the acting (Julia Roberts was a particular surprise), I found the film to be overly schematic. The choreographed couplings, the significant profession, the photographer, the obituary writer, the dermatologist, and, above all, the vulnerable stripper all became obvious symbols, and well as the photographic exhibit "Strangers" in a movie called CLOSER. But, above all, in spite of the acting, I never really saw what attracted these people to one another in the first place, let alone what kept them together for whatever time they were together.
As a fan of Mike Nichols' WHO'S AFRAID OF VIRGINIA WOOLF/ and CARNAL KNOWLEDGE, I was looking forward to a return to form. Although Nichols did a good job of making us forget its stage origins, and the production design was excellent as well as the acting (Julia Roberts was a particular surprise), I found the film to be overly schematic. The choreographed couplings, the significant profession, the photographer, the obituary writer, the dermatologist, and, above all, the vulnerable stripper all became obvious symbols, and well as the photographic exhibit "Strangers" in a movie called CLOSER. But, above all, in spite of the acting, I never really saw what attracted these people to one another in the first place, let alone what kept them together for whatever time they were together.
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