A Good Year Review
Posted by Chad Webb on 11.13.2006
2006 will probably not be the best year for A Good Year.
Russell Crowe: Max Skinner
Freddie Highmore: Young Max
Albert Finney: Uncle Henry
Marion Cotillard: Fanny Chenal
Didier Bourdon: Francis Duflot
Isabelle Candalier: Ludivine Duflot
Abbie Cornish: Christie Roberts
Archie Panjabi: Gemma
Tom Hollander: Charlie Willis
Directed By: Ridley Scott
Release Date: November 10, 2006
Running Time: 118 minutes
Rated PG-13 for language and some sexual content.
A Good Year is a film that will produce mixed reactions more than any film this year. At first, I thought it was wonderful that Director Ridley Scott decided to relax from his usual epics, and finish a project that was more restrained. The actual result was a story that was simply a way for Mr. Scott to pass the time before American Gangster. Make no mistake, A Good Year is a pleasantly serene tale, but unfortunately, it is easily forgettable. If this was not directed by Ridley Scott, this movie would not have turned one head. Regardless, it remains a delightful way to spend a Saturday evening after a nice dinner out. No other movie this year fits the phrase “that was nice”, more appropriately.
Max Skinner (Russell Crowe) is a man who has grown into a financial genius. Everyday his goal is to make money by basically any means necessary. The way to describe him best can be heard from his own mouth when he refers to himself as “famously callous.” He is on top of his own little world until he receives a note that his only known living relative, Uncle Henry (Albert Finney), has passed away. It seems that Max Skinner was once a pleasant and intelligent young boy that spent summers at his Uncle’s chateau and vineyard in Provence. Max discovers that he has inherited the whole estate, but he has ignored that part of his life for many years, and the only thing on his mind is selling the property quickly for a big paycheck. After he is suspended from his job, he travels to France and stays at the chateau for a minor vacation. Upon arrival, he meets two women that make his “easy” decision of selling, extremely frustrating. One is a young woman named Christie (Abbie Cornish) who is claiming to be Henry’s daughter, and the other is a gorgeous goddess named Fanny Chanel (Marion Cotillard) that is not too fond of Max. The choice enters of which life is more important to him.
As Max Skinner, it is terrific to see Russell Crowe calmed down, and reminding viewers of his natural charm, humor, and outstanding acting ability. While he might not be the most affable celebrity, Crowe is a fantastic talent, who is pitch perfect is almost every role he takes. Max is a cold hearted prick, but a convincing one nonetheless, and it is understandable how he has transformed from a lovely young companion, to a man that is greedy and insensitive. After all, he only spent summers with his Uncle. Crowe performs flawlessly under the guidance of Ridley Scott. Tim Burton is to Johnny Depp, as Christian Bale is to Christopher Nolan, as Russell Crowe is to Ridley Scott. That is evident.
Freddie Highmore is one of the strongest child actors around, and I would compare his ability with Dakota Fanning’s, but here he is given absolutely nothing to do as young Max. He is fabulous is the few scenes where he has dialogue, but one can’t help but wonder why an elongated two hour running time did not have more room for him to squeeze in. Uncle Henry is portrayed by Albert Finney, who is quite honestly the highlight of this film. The magic he stirs up in this character causes the audience to want to dig into the soul of this quirky bachelor. One definite positive aspect was the fact that the flashbacks, that included Highmore and Finney, blended seamlessly with the present day plot.
The two main females also deserve credit for their work. Abbie Cornish (Somersault), who played Christie Roberts, further establishes a name for herself in Hollywood with this concentrated, yet sharp depiction of Henry’s illegitimate daughter. Marion Cotillard has primarily contributed to French cinema, but she slips smoothly into this role as the beautiful Fanny Chanel. Her exquisiteness is hypnotizing, and her impudence is exceptionally lively.
The problems with A Good Year are not its similarities to Sideways, or even its predictability. What bothered me the most was that is lacked a powerful enough spell of passion. I was never compelled by the development of the storyline, and although it may be enjoyable, it is not memorable by any stretch of the imagination. That is a rarity for the director of Blade Runner. The other nuisance is when one attempts to place this into a genre. If you think of it as a romantic comedy, you will surely be disappointed at the conclusion. However, by considering it a plain drama, it turns out to be a very respectable, soothing, and even endearing story. A Good Year ends up being a mess of both.
Ridley Scott embraces this soft material satisfactorily, but his insertions of certain slapstick moments are quite odd. I would not argue with those who thought of this as pretentious, but I felt comfortable through most of this peaceful parting gift. Scott’s camera work is largely breathtaking with stunning scenery of the vineyard and the enchanting chateau. Amazingly, he molds so many clichés into such a composed, sweet, yet ultimately unremarkable piece. He does adjust adequately between city shots of London to the country sights of France rather well though. Marc Klein’s screenplay was adapted from the book by Peter Mayle, and that fulfilling script meshes suitably with Scott’s confusingly sufficient filmmaking.
The comparisons to films like Under the Tuscan Sun, Sideways, and Chocolat are impossible to overlook, and obvious to everyone, including the casual moviegoers. Despite the surface displaying a hackneyed premise, when one stops absorb the warmth and good intentions of A Good Year, it is not totally unacceptable. Crowe, Finney, and Scott team up and cause us to care about these people about as much as they can after tolerating all the errors. I have no doubts that this will get lost in the shuffle of the brilliant Director’s Cut of Kingdom of Heaven, and likely success of American Gangster. If compared to tasting a wine, I would say A Good Year should be sampled, but don’t buy the bottle
The 411: If you are looking for a date movie, and you are a couple who prefers a more easygoing movie atmosphere, and a storyline that is predictable, but pleasurable, this if most likely for you. This is not a film that will break DVD sales records, or box officer totals for that matter, but it is worth a look. Russell Crowe and Albert Finney do a marvelous job with terrific supporting performances from the other cast members. A Good Year just isn’t Scott’s specialty, but that’s ok because this could have been a lot worse.
