Love in Films
Romance is well-trod territory for films, and though it is not uncommon for some directors to rely on tired romantic tropes, depictions of romance on-screen can often make for some of the most passionate and moving moments of cinema. To assist you in differentiating between your run-of-the-mill romcom and films that effectively and earnestly engage with love, two excellent films that deal with the subject of romance are reviewed below.
Portrait of a Lady on Fire
Portrait of a Lady on Fire is an immersive period piece that depicts the emerging romance of two women, a painter and her subject. In late 18th-century France, Marianne (Noémie Merlant) is commissioned by the mother of Héloïse (Adèle Haenel) to paint a portrait of Héloïse. The portrait is destined for Héloïse’s suitor whom Héloïse is loathe to marry. Marianne is thus given the difficult task of painting Héloïse without her knowledge, observing her during the day and painting in the evening. Marianne is presented to Héloïse as a companion, who has been brought to the Breton island where Héloïse lives to accompany her on daily strolls. These strolls present Marianne with her only opportunity to study Héloïse’s appearance, which she must translate to canvas from memory. This clandestine operation not only drives the plot for the first portion of the film, but generates some extremely refreshing cinematic moments.
As Marianne accompanies Héloïse on her daily walk, the camera places the viewer in the perspective of a painter, subtly craning her neck to observe her often shrouded subject. Director Céline Sciamma’s vision shines through in these scenes—viewers can’t help but appreciate the visual beauty that Sciamma is able to produce through the ingenious use of perspective. The artful scene direction is complemented by a well designed set that completely immerses viewers in the film’s 18th-century setting.
Though the film is an incredible visual accomplishment, the most engaging aspect of the film is the relationship that develops between Marianne and Héloïse. The depiction of the romance between these characters is poetic, thoughtful, and extremely moving. Portrait of a Lady on Fire carries on LGBTQ cinema’s extremely strong tradition of depicting on-screen romance in an emotionally impactful way.
Unfortunately, Portrait of a Lady on Fire did not make it to the Oscars. Clinching the spot for France’s submission for Best Foreign Language Film, instead, was Les Misérables. Though Les Misérables was an inspired and engaging film in its own right, Portrait of a Lady on Fire is an incomparably stronger film and a must-see of 2019.
8/10
Uncut Gems
Though Uncut Gems is not a film that will immediately strike viewers as “romantic,” a central component of the film’s plot is the relationship between jeweller Howard Ratner (Adam Sandler) and his mistress Julia (Julia Fox). Ratner is a heavily indebted jeweller who resolves to pay his debts through a series of high-stakes bets (4-way parlays, to be specific) on Boston Celtics games. His creditor and brother-in-law, a loan shark named Arno, pursues Ratner in an increasingly aggressive manner throughout the film, making for an incredibly tense atmosphere that is intensified through directors Josh and Benny Safdie’s use of cinematography.
The film is 135 minutes of pure anxiety. Ratner makes consistently unwise financial decisions, and in doing so, risks both life and livelihood. The pacing and presentation of the film’s plot is designed to make you feel this risk—this is one of Uncut Gems’s major accomplishments. One of the most impressive feats of the film is its ability to make viewers feel viscerally nervous during the scenes where Ratner makes his high stakes bets—scenes which consist, generally, of Ratner watching a basketball game on TV. Though one would think that this would make for a poor viewing experience, the genius of the Safdie brothers’ directing shines through in these scenes. This is accomplished with the help of an excellent soundtrack, an inspired performance on the part of Sandler, and creative camera-work.
Coinciding with Ratner’s descent into ever more precarious situations is the collapse of his marriage. This collapse establishes the basis for Ratner’s tumultuous relationship with his mistress, Julia. This relationship is as bizarre as it is entertaining —Ratner and Julia fight and makeup throughout the film in a way that coincides with the ebb and flow of Ratner’s luck, or lack thereof. Though the relationship is hardly complex or meaningful when compared with the relationship portrayed in Portrait of a Lady on Fire, its portrayal does an excellent job of reinforcing the visceral and emotional impact of the film.
The film is also interesting because of two somewhat unusual actors: Adam Sandler and Kevin Garnett. Sandler is extremely adept in his portrayal of Ratner, and is able to embody the superficial charm of a manipulative, indebted jeweller who gambles away other people’s money. The success of this portrayal is rather remarkable given the type of role that Sandler typically portrays. Garnett, who plays himself, has an equally impressive performance. Garnett is obsessed with a rare black opal that Ratner has recently imported from Ethiopia and makes it his mission to acquire it throughout the film. The scenes that portray interactions between Garnett and Ratner are some of the most interesting of the film, not only because of how surreal it is to see Sandler and Garnett in their respective roles, but also because both put forward such strong performances.
8/10
