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I went into Peter Greenaway’s “The Cook, the Thief, His Wife, and Her Lover” with blinders on. I had absolutely no conception what to put a question to as the movie started, none whatsoever. I slightly suspected the director made “art” films due to a faint recollection of a discussion I saw on a bulletin board years ago, but that was all I could remember. Heck, I opinion Uma Thurman was in this film for some reason! Obviously, this was my first experience with Greenaway, a director I have since learned is renowned for creating disturbing films designed to upset audiences. I’ll bet this masterpiece had arty types fleeing for the doors! Boy, I wish I’d seen this in an art house when it came out. I’m archaic to seeing films dealing with subject matter far worse than this one, but viewers who employ their time watching pictures about relationships and strolls through a park on a sunny day aren’t. Yes, Greenaway’s film deals with abhorrent themes expressed in undeniably grotesque forms. Yes, the represent has terrifying scenes of violence. Yes, relationships of a decidedly revealing nature play a tall share in the situation. What did you ask from a NC-17 rated represent? Don’t worry-you can handle it. Actually, you’ll probably be blissful that you sat through it because this is a great movie.
“The Cook, the Thief, His Wife, and Her Lover” starts on a particularly memorable ticket. Immense time gangster and thief Albert Spica (Michael Gambon), his wife Georgina (Helen Mirren), and his entourage pull up to the support door of a savor restaurant speed by the wonderful French chef Richard Borst (Richard Bohringer), ready for a night of heavenly dining and disagreeable behavior. Spica is a eminent brute, a burly, sadistic thug who enjoys tormenting everyone around him, especially his wife Georgina. Greenaway sets the tone immediately by having a pack of dogs snap and stutter outside the restaurant as Spica presides over the humiliation of an underling. The awful behavior continues inside as Spica and his miscreants throw food, insult the staff and fellow customers, and generally compose fools out of themselves. Night after night, Spica and his band of perilous ruffians return to the restaurant, tormenting Borst and his staff as the restaurant’s business drains away. No one, it seems, wants to expend an evening eating next to a guy like Spica.
One gentleman seems relatively unbothered by the ruckus a couple of tables over. Michael (Alan Howard), a scholarly looking librarian who always reads a book while he eats, simply ignores Spica’s loud theatrics. When he makes study contact with the graceful Georgina, however, sparks cruise. Within minutes the two are in the bathroom madly pawing away at each other. The clandestine affair continues night after night, with both Michael and Georgina continually aware that Albert Spica or one of his goons could peruse the tryst at any moment. Eventually, the staff of the restaurant plays a allotment in helping the two lovebirds meet, allowing them to utilize the nooks and crannies in the cavernous kitchen and deflecting any suspicions posed by Albert. Georgina uses Michael as a respite from her vicious husband, a chance to elope his evil behaviors if even for a few precious minutes. Spica’s wife soon finds the strength to waft from Albert, racy in with Michael in his library. The thuggish Albert flies into a rage over his wife’s disappearance. It’s not that he cares for her in any diagram (he definitely doesn’t), but his massive ego cannot stand the view of her being with another man. Spica tracks down Michael and has him murdered by stuffing pages from a book about the French Revolution down his throat. The conclusion to the film is one of the most memorable in fresh film history.
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After I watched Greenaway’s film, I looked a few things up. Some brilliant film critics in England examine this narrate as a critique of the Thatcher years, with Spica standing in for the moral sail, Georgina as England, and her lover as the hapless political left. Maybe, but I didn’t gape any of that in the film. I spent too powerful time chuckling over the outrageous behavior of Spica and his goons-one played by Tim Roth in an early role, by the way-and enjoying the glorious Helen Mirren. She’s so aesthetic here that your heart aches over the indignities she suffers at the hands of Albert. She’s also not disquieted to do some mettlesome scenes, a lesson she probably learned from her role in the Tinto Brass and Bob Guccione classic “Caligula,” made some ten years before this film. If you collected need to a reason to eye the movie, if the political symbolism and charged situations leave you frigid, check out the gigantic musical gather by Michael Nyman and the sumptuous atmosphere of the restaurant. The colors and décor of the dining establishment grasp your breath away, and Greenaway further uses color by having people’s outfits change hue as they shuffle from room to room. What does it all mean? Who knows, but it’s fun to spy.
The DVD version of the film I saw didn’t have grand in the plot of extras besides a trailer and a widescreen represent transfer. No matter, though. The movie is spellbinding enough to accomplish you forget all about commentaries, stills, and any other of the usual extras. After watching “The Cook, the Thief, His Wife, and Her Lover,” I would like to behold other Peter Greenaway films. Unfortunately, most of them have not received a reissue on DVD. If the subject matter is as disturbing as this film, no wonder! I recommend renting this movie and then spicy some friends over to spy it. Don’t content them anything about it beforehand, though. Unprejudiced sit help and observe the jaws fall.
I don’t come by it. Leprechaun 2 is available on DVD, and this isn’t.
I remember when this was released, it had impartial gotten a very determined review in the NY Times, and the theater was packed. Well, by the ruin of the film, there were plenty of empty seats. I’ve never seen so many people go out on a movie, or in such a genuine trot. It was as though the people who found it distasteful had very different levels of tolerance, or perhaps that the film offered an unusually colossal selection of potentially offensive subjects. There were actually people who walked out during the last 10 minutes. Serene, there were plenty of viewers who were transfixed by this lovely film, including me. In fact, I had to go watch it again the very next day. I can’t remember being quite so affected by any movie.
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Helen Mirren and Michael Gambon are both very qualified here, but what really sets this film apart are the beautiful, painterly compositions and the lush cinematography (by Sacha Vierny) . The brutal violence, the dialogue, the characters and region all back as a background to the film’s ravishing visual spectacle. This inversion is somewhat typical of Peter Greenaway’s films in general, but this is perhaps his masterpiece. In short, I can’t imagine a more essential addition to the DVD canon.
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