| The
Review: |
"Innocence" just might be the most
intelligent film about love ever made, simply because it accepts
the fact that love cannot, and should not, be explained. So
many films make the fatal mistake of digging too deep into
melodrama in search of an explanation for their characters'
feelings, failing to realize that the best love stories are
those that simply allow the emotion to blossom and bloom.
***
But the film does not stop there;
instead, it throws a one-two punch by choosing to focus on
a story involving elderly people rather than the young, nubile
bodies intertwined amongst one another that we have become
so accustomed to seeing onscreen over the years. Sex is almost
always delegated to the young in movies, as well as in real
life; we never stop to think that older people remain active
in their love lives long after they hit a certain age. Writer/director
Paul Cox is able to balance these two potent issues with one
another in a way that is truly heartfelt and touching; he
shows a skill that many filmmakers lack in these matters,
and his film is all the better for it. ***
The beginning of the film is composed
of a series of images of two young people riding bicycles,
frolicking in the woods, the sort of romantic haze that captures
the youthful generation before they have a chance to realize
it. This takes place in the memory of Andreas (Charles Tingwell),
an elderly man in his seventies who has looked up his first
true love, Claire (Julia Blake), in hopes that they might
catch up on old times and remain friends. Their initial meeting
is one of hearty recollections and good-spirited friendship,
but afterwards, that feeling of separation that each of us
has experienced in one form or another sets in. Andreas cannot
go for one day without calling Claire, recording letters on
his tape recorder, or simply thinking of her and their times
together. ***
At first hesitant, Claire soon
breaks down and agrees to meet him at a cemetery, where the
remains of his wife are being moved to a new location. The
experience is too much for him; in his grief, Claire consoles
him, and the two end up spending the night together. Upon
returning home the next day, she admits the act to her husband,
John (Terry Norris), who first passes it off as a ploy for
attention. At this point, she begins to realize that the life
she has lived has been more out of comfort than anything else,
and by rekindling her love with Andreas, she realizes she
has found the life she has been looking for. ***
The way the events of the film
are handled are simply extraordinary, ultimately transcending
the boundaries of simplicity to become something wholly complex
and complicated. Anyone who has ever been in love can identify
with Andreas and Claire: they experience emotional changes
so vast, and yet so attuned to our own personal experiences
that they could easily be our own. That they have held on
to these emotions for more than forty years is a testament
to the fact that some love never truly dies, and just as these
two people have no idea why they embark on this journey together,
we ourselves need to realize that sometimes love itself has
no explanation. It defies logic and reason, and has a mind
and heart of its own. ***
And just like love itself, there
are moments in this film that are indescribable, akin to the
very feeling of love itself. Cox's screenplay and quiet, understated
direction provide one of the most incredibly touching looks
at tenderness I've ever seen, anchored by two of the most
profoundly moving performances of the year. Julia Blake and
Charles Tingwell act with great courage and conviction, their
performances full of ambition, realistic emotional intrigue,
and an honesty that goes unmatched by a great many predecessors.
More than anything else, they bring us into the film and keep
us there, binding us to their love affair while also giving
us reason to care for them as individuals. That they happen
to be much older than the usual movie couple hardly seems
to be of any importance once things develop further; we come
to feel for them as much as we would feel for any other couple,
be it that of "Titanic" or "Gone With the Wind." ***
It is precisely that focus that
puts everything about "Innocence" into perspective. In the
end, love is not about age, nor is it about trying to figure
out and decipher the feeling as if it were Morse Code. This
film gets back to the essential factor of the feeling, that
indescribable shockwave that you can't quite explain, but
you know is there. John Lennon once said, "All you need is
love;" this is that love.
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| Image
and Sound |
In almost all respects, the 1.85:1
image for "Innocence" is a love affair in itself. Colors are
wonderfully saturated for just the right feel, while fleshtones
are always accurate and warm. Contrast, though flawed in minor
instances, is otherwise great, with terrific shadow delineation
and deep, pure blacks. Edges sometimes have a soft appearance,
no doubt the result of stylistic influences, but when they
are sharp, detail is exquisite. There is some noticeable film
grain, but nothing too intrusive. A fine picture transfer
throughout. ***
The Dolby Digital 5.1 track is
a mostly dialogue-driven track, so don't expect too much in
terms of ear-bleeding sound effects and deep bass. With the
exception of scenes involving flashbacks (even those tend
to remain confined to the front end), much of the movie is
all talk, but it sounds clean and remained centered throughout.
The music is somewhat low in volume, and generally leans towards
the front, but there is some activity in the surrounds.
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