Customer Reviews

Elegy

5 star:		(14)
4 star:		(20)
3 star:		(7)
2 star:		(6)
1 star:		(3)

 

 

Elegy with Ben Kingsley and Penelope Cruz in leading roles - fine performances by Dennis Hopper and Patrica Clarkson as well.

Some reviewers disliked the film calling it trite, as the erudite but emotionally impotent David Kepesh (Kingsley) with his life long committment to hedonism (particularly womanizing) leaves some unsympathic to his plight and the movie in general.
Masterfully portraying the cold hearted and ultimately frightened Kepesh (wanting to end the best relationship of his life before his girlfriend ends it first, or so he tells himself) the film shows a man of culture, wit and fine intellectual prowess lay bare his world as friends die and the shallow nest of his life is flayed open.

Not a happy feel good movie, and certainly not a movie for folks who like formula characters who are politically correct at every turn, but this poignant, poetic film with hauntingly beautiful music has much to offer discerning tastes.

Unflinchingly it reminds us of the rentless movement of time, of life's unpredictable geography, of choices made, and of those simple moments of redemption.
I hope we'll see more work by this director.

Character-fueled without skimping on story, Coixet and Meyer make it easy for us to understand the perspectives and motives of each lead without asking the viewer to like or sympathize with them. Interactions are believable within context, and dialogue is natural and interesting. Although the film is about a refined cultural critic, it never itself feels pretentious (Ben Kingsley's appropriately upturned nose notwithstanding).

Nor is the film judgmental. Once gravity is lent to what might seem a minor life crisis, the masterful pacing leaves little room to consider the defensibility of the choices made before us. Short scenes are interspersed with longer bits of dialogue, the end result being a well-proportioned mix that is constantly fluid. The shot selection keeps the film visually interesting, even in the more cerebral scenes of extended dialogue. Every once in a while, a visual metaphor seems unnecessary and contrived--as in when wilted leaves fall from a potted plant--but such annoyances are few and far between.

Kingsley is certainly in his element here, and his classical training enables him to indulge his inner British snob without guilt. His transformation from accomplished, confident sophisticate to love-struck, helpless old man is nuanced and captivating.

Not just anyone can reduce a man like that to helplessness; this feat is performed by Penelope Cruz (who else?). It's fair to say that Cruz is often typecast as the Latin seductress, but it is a role she has perfected--even elevated--in films like Todo Sobre Mi Madre. This is her at her most sympathetic, and she manages to bring something new to a role that could have easily been phoned in.

Dennis Hopper's performance is similarly familiar as a renowned American poet with 60's-era ethical permissiveness and a taste for striking women far younger than he. Like Cruz, he avoids switching on the autopilot, and eschews familiarity for freshness.

Elegy is perfectly cast, beautifully shot, and refreshingly accessible for a film of its caliber.

The first 30 minutes or so of Elegy were a bit uncomfortable...the idea and sight of Ben Kingsley's 60-ish character trying to seduce (well, "woo" as he jokingly tells his professor pal played by Dennis Hopper) a playing-24-year-old Penelope Cruz will do that. But that uncomfortableness slowly lessens as you see the maturity that Cruz's character possesses...and the immaturity displayed by Kingsley's David Kepesh. As Hopper's character pointedly tells Kepesh, "You need to grow old...and grow up." It's a spot-on piece of advice.

This serious, small movie ends up being a real pleasure for fans of intelligent movie-making. This one has it all: the pedigree of a Philip Roth novel; adapted for the screen by Nicholas Meyer; superbly directed by Isabel Coixet; and a first-rate cast of Kingsley, Cruz, Hopper, Patricia Clarkson, and Peter Sarsgaard. Moreover, there's the Easter Egg-like treat of a performance by Deborah Harry, almost unrecognizable out of her erstwhile Blondie persona.

Of special note are the one-on-one scenes between Kingsley and Hopper. You can tell they had a lot of fun together. There's a deep respect for each others' talents that plays out on the screen. The DVD's featurette confirms this: Kingsley speaks of "Dennis' rhythm as an actor" (that's a great observation), while Hopper speaks glowingly of "working with Sir Ben."

Cruz continues to be a revelation. When trying to break into English-speaking roles, she made a string of stinkers. Now, with Volver, Vicky Cristina Barcelona and Elegy, she's entered a pantheon of actresses inhabited by very few. Not many women of her stature could pull off what she does in Elegy: age 33+ in the filming, she's a 24-year-old graduate student in this film. From the moment she walks into Kingsley's class, you believe it. She's stunning, classy and youthful. Now, juxtapose that vs. the world-weariness she needed to exhibit to pull off what she did in Volver. Incredible stuff.

A half hour into this film, I wasn't that impressed. I thought it was a little slow. Then suddenly, it captured me, and I was entranced. I realized that this film was a cerebral gift---one that would take me on a journey, opening doors, that many of us may face one day, during our own life reviews, particularly as WE become 'seniors.' The issues may be different, but we all share imprefections. No, this was not a shoot-'em-up, car chasing, violent film. It was a thoughtful, insightful and poignant one.

ELEGY left me with many thoughts to ponder, regarding the human psyche: Our often poor choices; how many times we sabotage our happiness; the extensive boundaries we often draw around ourselves; our frequent inability to really see others beyond the surface, and perhaps, even ourselves. How we may snap one day and realize we've lived a life of self-fulfilling, superficiality, while never fully engaging, and that it is suddenly time to pay the consequences. Yes, ELEGY stares these emotions and conflicts (and many more), straight in the eye. And if you don't have tears coming out of yours by the last scenes, as our characters face these demons, you're stronger than I.

ELEGY does justice to Philip Roth's erotic novel, THE DYING ANIMAL, which explores sexual indulgence, challenged by aging, and facing the grim-reaper. David Kepsch (Ben Kingsley) is an aging, college professor, and somewhat of a celebrity, who left his wife and son during the 'free sex' era to indulge in serial womanizing and self-absorption. Sadly, it is an era that he never wanted to give up and he begrudges growing old, or becoming that, 'Dying Animal.' He'd prefer living the, Peter Pan dream, forever, with his now-and-then, sex partner played by Patricia Clarkson and any sexy, young thing, he can lure into his lair, use up, and discard. But in his golden years, they are becoming fewer, and farther, between.

In steps the young, Grad student; the gorgeous, erotic, Cuban---Consuelo Castillo (Penelope Cruz). The chase ensues, but Kepsh begins to suffer severe, narcissistic injury, as his obsession grows and he has to face their 30 year age difference. Consuelo appears equally infatuated and appears to care less about the age difference. But, instead of embracing his good fortune, Kepsh becomes filled with self doubt, fueled by his best friend (Dennis Hopper). He repeatedly offers terrible advice, except for: 'Don't grow OLD, grow-up,' which was most fitting, although he didn't mean it in the literal terms he should have, being a naughty little enabler, himself.

The ending of this movie shows many lessons learned, particularly how the things that worry us most, aren't always the way life plays out; how fleeting and fickle life can be; how true love can re-route our destiny, for the bitter, and, the sweet.

This film will not be for everyone. First off, it is fairly erotic and carries a PG17 rating. And, as previously stated, it is not an action, or mystery film, but a deep character study. I suspect the younger crowd would not be too interested in the aging protagonist, Kepsh, or much of the theme, although they might like to see the sultry Penelope, sans clothing. That said, it definitely targets a more mature audience.

What happens when respected cultural critic, author and college professor, David Kepesh (Ben Kingsley), who heretofore has lived in a state of "emancipated manhood," becomes obsessed by stunning young student, Consuela? (Penelope Cruz).

Will his previously well-worn theories about relationships undergo a complete transformation? Seeking counsel and advice from longtime friend, George (Dennis Hopper), David tentatively forays into the uncharted waters of love at a different level - a level almost bordering on commitment - while still hanging on to his lackluster single existence between "visits" from Consuela.

Never really venturing into her "real" life, which would include meeting family, getting to know her deeply, David is therefore (almost) prepared when the relationship ends.

Two years later, the two reconnect - after David has suffered the death of his friend George, and gone on to carve out a semblance of a life - at which point Consuela shares life-altering news. Only then do they begin to understand the depths of their love for one another.

Based on the Philip Roth novel The Dying Animal (Movie Tie-In Edition) (Vintage International), Elegy is a melancholy and in-depth exploration of the human condition.

Laurel-Rain Snow
Author of: Web of Tyranny, etc.

Few American writers have been able to examine the fear and rage and desperation of aging as eloquently as Philip Roth, and as with another of his novels brought to life on the screen ('The Human Stain'), here Nicholas Meyer has beautifully adapted Roth's 'The Dying Animal' with all the visceral immediacy and poetry of the novel about the terror and compassion of May/December relationships. Isabel Coixnet has managed to guide her gifted set of actors through this story as though it were a ballet. The result is one of the more beautiful 'love stories' ever filmed.

David Kepesh (Ben Kingsley, in a performance of tremendous power and sensitivity) is an aging author, teacher and art critic, a man who has not learned the secret of lasting relationships but who retains his animal sex drive despite his passing years: he survives time's passing by a patterned assignation with Carolyn (Patricia Clarkson), an aging successful traveling business woman who drops in for sensual gratification when in town. David's closest friend is Pulitzer prize winning poet George O'Hearn (Dennis Hopper) who serves as his alter ego and as his confidant in David's problematic life.

Into David's classroom comes Consuela Castillo (the ravishingly beautiful and gifted Penélope Cruz) who gains David's focus not only for her radiant beauty but also for her intelligence. Struggling with his advanced years (David is over thirty years older than Consuela), a courtship dance begins and it is the emergence of this romance that forms the story. How Consuela alters David's behavior and his discovery of the need for connection outside of the bedroom is related as a journey through David's mind. The manner in which the transformation changes every member of the story is what makes this film so very memorable.

Kingsley is brilliant in this probing examination of the aging man's psyche, Cruz SHOULD have received her Oscar for this performance rather than the film that honored her, Clarkson continues to be one of our best actresses on the screen, Peter Sarsgaard makes a brief but important appearance, and David Hopper manages to step out of his predictable past roles and offer a character of true compassion and finesse. The film is magnificently photographed (Jean-Claude Larrieu) and the music score thankfully is almost completely devoted to the works of Erik Satie (Gnossiennes), Beethoven (Diabelli Variations), Vivaldi (cantatas with Phillipe Jaroussky) -all edited by the director Isabel Coixnet. It all works well. This is one of the finer films of 2008 and deserves a wide audience of people who love quality filmmaking. Grady Harp, March 09

An erudite professor (Ben Kingsley), admired due his vast culture and broad knowledge, lives an entangled private life. Divorced, his affective relation with his son is a real mess. And his two only tie with the real world are -on one hand- a sensitive poet (Dennis Hopper), who is an epitome of his own shadow; he questions him but reflects many of his convictions when he was young ; the other bound is an old pupil (Patrice Clarkson). His house is an extension of himself (as it must be)a museum in miniature. Memories, antiques treasures, invaluable books and His powerful intelligence has not grown old, but his youth is missed.

Among this universe of contradictions, he meets a warm relationship with an alluring young student (Penelope Cruz). And so, the normal admiration she feels for him and the ardent passion for being loved are blended. The chosen music might not better appropriate. The initial encounter is supported by the meditative variation which belongs to the "Diabelli variations". And the erotic sequences are beautifully leaned by the incorporeal lyricism of the Gymnopedies of Eric Satie ( So, Isabel Croixent paid her personal tribute to the famous film "The immortal story" with Orson Welles and Jeanne Moreau, from 1968).

On the other hand, one cannot forget the visible traces of "The blue Angel" (starred by Emil Jennings and Marlene Dietrich and directed by Joseph von Sternberg). The tantalizing visions and the fear to be forgotten and neglected by this beautiful girl in a recent future due he is older than her by thirty years molds the expected results. He wishes total isolation and refuses to meet her parents in order to avoid acidic comments.

But this paradisiacal state won't be for so long. And then a sudden fact leads to a fracture in this relationship.

Two years after, she will contact him at the eve of a new year. And she will ask him a favor: to photograph her (like Goya painted the dressed and undressed Maja ). That is another visual clue. The body language of Penelope suggesting the same position the Maja, in order to preserve her body from the expected corruption produced by the years.

The cast is splendid. Kingsley is fabulous (as always), Penelope Cruz makes her best acting since her unforgettable performance in "Volver" . Hopper demonstrates his multiple and multidimensional skills as actor and Patrice Clarkson is extraordinary through her brief but decisive participation in the film.

A thoughtful and mature film that will invite us to think and besides to understand the real sense of the human condition. A full rounded artistic movie, which is by itself a true finding in those times.

Based on the book`The Dying Animal' by Philip Roth. Ben Kingsley is David Kepesh an aging professor who is free of any romantic and family connections. He is a college professor and is supposedly a cultural authority on what should be read and heard. He has had many relationships until Consuela, the daughter of Cuban immigrants stirs up his romantic interest. Patricia Clarkson is his part time lover and Dennis Hopper plays his confidante and friend. The film's main theme is about the decisions we make and confronting aging and death. Kingley's relationship with his son is mature and cold hearted at the same time. Penelope Cruz and Kingsley display some chemistry and emotion. The music is beautiful, and some of the pieces warrant a second hearing on CD. The scenes at the end are touching and brilliantly acted. However it failed to move me and so did the rest of the movie. I enjoyed the acting and would give it 3 stars. 1/15/10

****Spoiler Alert****

David Kepesh (Ben Kingsley) is a college professor who is living a happy bachelor life without attachments until he meets Consuelo (Penelope Cruz)-a sophisticated, gorgeous, grounded Cuban-American, going back to school for her MFA. Kingsley discusses his affair with his best friend George O'Hearn (Dennis Hopper). David continues his relationship with Consuelo for a year, until Consuelo asks him to come to her graduation party. Unable to face her parents, David is a no-show. Consuelo ends the relationship. David misses her. She calls him two years later to say she has breast cancer and is dying.

There are some sad truths in this film. As you get older, the people you love die. It makes you feel very mortal. When a lover dies, a version of you goes with them. You face a death of yourself along with the person you loved. Further, when you're dying you think about all the people you used to love and how much you're going to miss them. You'll even miss whatever sad circumstances they brought into your life.

Penelope Cruz is stunning and wonderful in the role of Consuelo. I've loved Penelope from way back in the day, when she was playing roles in Pedro Almodovar films like All About My Mother. And Ben Kingsley suits his role so well you forget he's acting. My only criticism of the film is that I don't always feel Kepesh's regret. It may be that Kingsley isn't arrogant enough in this role. Besides not being able to face Consuelo's parents and attend her party, he's pretty good to her. He makes plans to take her to Europe. They go everywhere together. He seems to put her through a lot less than a man her age would. If I were dating a woman 30 years younger than me, I'd be scare to meet her parents too. Kepesh doesn't come off as cruel or indifferent to her in the relationship as I think he needed to be. In fact, he seems to really love her. Yes, he has one casual entanglement, but what 60 year old lover isn't going to have some baggage?

Roth loves to explore relationships of the older man with the slightly inappropriate younger woman as he did in The Human Stain: A Novel. But Elegy is much more than a May/December romance. It's a touching tribute to a lover that is missed. Recommended with a box of tissue near.

This is a beautiful movie, well cast well made and a story well told.

I am sure that there will be criticism from viewers who do not have the patience to follow the story through but then that is part of the charm of the film.

The film begins with the narration of a semi-celebrity professor crowing over his ability to seduce students after their graduation from his course as a confession of the abuse of his position to fuel a lifestyle of selfish self-promotion.

When he meets a student who does not fall immediately for his charms he becomes enveloped in a relationship which awakens feelings that he had previously not encountered. we learn about him from the conversations he has with his best friend and the confidences they hold about each other and from the interactions with two other significant characters, his estranged son from a failed marriage and a woman with whom he has a casual yet regular sexual relatonship.

Our knowledge about the student is released slowly rather like peeling the layers of an onion and we follow the relationship which becomes soured by his obsessive jealousy and selfishness. Eventually that selfishness overcomes his feelings of love for the woman and she disappears from his life although the aftermath of their breakup dogs him as he struggles to come to terms with that and the implications of it.

In a conclusion which is not as the plot has carefully laid out, the couple are reunited through a tragic event which allows their feelings to be exposed.

This is a tender, slow drama which goes to a great extent to establish the network of relationships between a few people in order to bring forth an analysis of how modern life in a post-industrial society has resulted in fragmentary relations involving sex without love or care and where real relationships are the exception rather than the rule.

Each of the actors involved have gone to considerable trouble to avoid extreme positions to create very real and reasonable people who have considerable credibility. Not for everyone perhaps but a very rich film to watch and ponder upon.