Most Helpful Customer Reviews
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36 of 37 people found the following review helpful:
4.0 out of 5 stars
Love is the Bridge Between This Life and the Next, October 13, 2005
Thorton Wilder's novel of ruminations about the quality of love and the extremes to which it can be played out is more of a philosophical meditation than a story and this is probably the reason many people feel upended by Mary McGuckian's film, a project she both adapted for the screen and directed. If this film seems a bit on the static side there is a reason: the tale is a testimony before court by Brother Juniper (Gabriel Byrne) about his investigation into the deaths of five people when the rope bridge of San Luis Rey outside Lima, Peru collapsed. Brother Juniper stands before the Archbishop of Peru (Robert De Niro) and the Viceroy of Peru (F. Murray Abraham) and poses the question as to whether the incident was an act of God or just a simple accident.
In order to present his case he has researched the lives of the five who died (mentioning those five would ruin the suspense of the story). We learn about The Marquesa (Kathy Bates) whose daughter has departed for Spain to marry well (the Marquesa is starving for the love of her estranged daughter); the kindhearted Abbess (Geraldine Chaplin) who gives refuge to the unwanted including identical twin men Manuel and Esteban (the mute Mark and Michael Polish) and Pepita (Adriana Domínguez). We also meet Uncle Pio (Harvey Keitel) who serves as a harlequin for the court and raises Camila Villegas AKA La Perichola (Pilar López de Ayala) who loves the stage and the accoutrements more than she loves Uncle Pio. Through the kindness of the Abbess, Pepita is loaned to the Marquesa's household as a surrogate daughter, the twins share their devotion to the court until a tragedy separates them, La Perichola is impregnated by the Viceroy and banned from the city (she raises her little boy, hiding from the world because of her post-partum smallpox disfigurement), and Uncle Pio eventually assumes responsibility of the child out of fatherly love. Five of these people who are true to love's power cross the fateful bridge. Brother Juniper is condemned by the Inquisition for his treason and the meaning of the story is revealed.
The cast is heavy on big names and while they make the most out of the stiff script, they never really touch us the way Wilder's novel characters did. But the trappings of the film are grand and accurately portrayed, the scenery is beautiful, and the costumes are some of the finest period costumes in many a film. This is one of those films that requires careful concentration from the audience, a willingness to not be disturbed by the at times static proscenium stage feeling of the setting, but the rewards of understanding the message are great. There are some fine performances here and the film is definitely worth seeing. It is more demanding than most films - and that is just fine! Grady Harp, October 05
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10 of 10 people found the following review helpful:
3.0 out of 5 stars
mixed response, May 18, 2006
I loved Thornton Wilder's delicate and moving novel and approached this movie accordingly. By the time I watched it through, I reached a point of exasperation, feeling that so much of it was good or even excellent, yet the pacing suffered and the editing failed to drive the watcher securely along the road to the end. Gabriel Byrne, Harvey Keitel and F. Murray Abraham performed excellently, Byrne in particular. Byrne's ongoing narration does its best to bind the tale together, and his quality of voice enriches this movie, giving it a beauty that persists in my memory. I could only have wished that towards the end he had given us a little more hint of the gathering horror that Brother Juniper must feel at his situation. A horror that will never be allowed a voice.
However, Robert DeNiro was horribly miscast. I am a DeNiro admirer; I have particularly loved his roles in such movies as Awakenings and The Deer Hunter and The Mission. But not here. Whether it is due to the director's reading of the character or his own, he lacked the necessary gravitas to persuade me that he believed in his own identity. He came across as light voiced, dismayingly colloquial, and, perhaps due to the shape of his moustache, perilously close to comical.Even his asking for Brother Juniper's death gave him no depth. John Lynch and Geraldine Chapman fill out their characters amazingly for the shortness of their actual time on screen. Katherine Bates disappointed me a little -- I wanted more heart. Given the nature of the Marquesa, I wanted sloppiness, more piggishness and self-pity from her in the beginning. When Byrne in his overvoice speaks of the tyranny that informs her maternal love, we have only really seen the generosity of that love.Perhaps a little more time to watch her reactions, more time to see her ideas developing on her face, would have aided the realization of the character in full.
Despite that last comment where I am asking for more rather than less, I wonder if more severe cutting might have helped this film. In visual terms it is beautiful and the details are extremely well realized. I must watch this movie again; I feel that it could have been a truly great film and I feel personally disappointed that it is not.
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3.0 out of 5 stars
Book or movie?, November 27, 2008
Although I appreciate the great stars that were cast in this movie and the tremenous work done with tradional clothing and scenery several centuries ago it did not impress me as much as the book. I read The Bridge of San Luis Rey in my freshman year in high school and I never forgot the power of it - so I just had to see the movie. The ending of the movie is really well done, but the mid section was a bit boring. I would recommend you read the book if you have already seen the movie. It is much more full of moral values, faith and fate of mankind.
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