MY COUSIN RACHEL

Rachel Weisz     Sam Claflin     Holliday Grainger     Iain Glen     Pierfrancesco Favino

      The film begins on an intriguing note, with the character Philip (Claflin) asking questions of himself:  “Did she?”  “Didn’t she?” “Who’s to blame?”  Then the setting moves to the country estate in Cornwall, where Philip manages his guardian’s landed property.  He supervises the help competently, and seems to be beloved.  But social skills are at a minimum, as he was orphaned at a young age and now lives and works primarily with men.  He is close in a male-male kind of way with his godfather Nick Randall (Glen), who frequently brings his daughter, Philip’s cousin Louise (Grainger), along.  It’s Randall’s hope that there will be a match between Louise and Philip.  But there is little chemistry between the two; Louise is supportive of Philip, giving him subtle hints, and attempts to playfully tease him, but he is oblivious.

     Intrigue sets in when Philip receives messages from his guardian Ambrose [who has moved to Italy and married a woman named Rachel (Weisz)] who thinks he is being poisoned…by Rachel].  Philip instantly flies to Italy, only to find that Ambrose has died and Rachel has departed.  The only person he meets is an oily character named Rainaldi (Favino) who seems to be taking care of Ambrose’s affairs.

     Intrigue is heightened when Philip gets word that Rachel—whom he has never met—is coming to visit.  Clever storytelling reveals more of Philip’s personality in his naïveté about women and his jumping to conclusions about Rachel, based on little information.  He’s ready to read her the riot act…and then he meets her.  She is beautiful, first of all, but kind, thoughtful, and attentive as well.  He is clearly not equipped to see her in an objective light.  He welcomes her and begs her to continue living on the estate.

     Up to this point, I was taken in by the film (based on Daphne du Maurier’s novel, with a screenplay by Director Roger Michell) with its suspense and sumptuous cinematography (Mike Eley).  Unfortunately, at this point, the characterization goes into the absurd, especially in regard to the character Philip.  Granted, infatuation with a beautiful person can make both men and women seem fools at times, but the ensuing turn of events stretches plausibility.  The film tries to “explain” Philip’s obsession (orphan, lack of experience with women) and leave the ending scenes ambiguous but still plausible, but it didn’t carry me along.  One clue was that the screening audience laughed at scenes that were supposed to be serious. 

     The set-up of this film was wonderful, it’s just too bad it couldn’t follow through with clever intrigue and turns of events.  And we were in no way prepared for the ending, not in the sense that it threw us for a loop, but that it had a hint of a deux ex machina quality to it (i.e., we’ll just throw this in to make you scratch your heads).  I haven’t had the privilege to read du Maurier’s novels, but I would guess she managed to end her stories better than this one did. 

      On the other hand, Rachel Weisz is a supreme actress who is able to convey beauty, sincerity, mysteriousness, and depth of character in all her roles, and keeps us captivated.  Sam Claflin (Me Before You, Hunger Games) is well cast and shows his ability in portraying a flawed character with the best of intentions.  Holliday Grainger, Iain Glen, and Pierfrancesco Favino provide fine supporting work.

A beautifully filmed, mostly engaging story of an ill-fated character.

Grade:  C+                                    By Donna R. Copeland

EYE IN THE SKY

Helen Mirren     Aaron Paul     Iain Glen     Alan Rickman     Barkhad Abdi

          This is a different thriller from most; the tension is mostly in the inaction rather than the action.  Helen Mirren is the no-nonsense Colonel Katherine Powell in London and in direct command of the U.S. drone operators who are waiting to pull the trigger on a target in Kenya.  She is logical and decisive while still being compassionate, unlike some of her superiors who cannot seem to think through problematic situations and come up with a plan.  Clearly, many of them have sat at a desk through most of their careers.  That is unlike Lieutenant General Frank Benson (Rickman), however, who immediately comprehends Powell’s reasoning and is prepared to give his authorization of a strike.  He is a military man.  It is the political officials who may not have had direct experience in war who struggle with making a decision.

         There are agonizing moments as we watch two suicide bombers get fitted with their vests while we wait for multiple authorizations (these have been “kicked upstairs” or over to U.S. officials to avoid personally taking responsibility).  Since this is spur-of-the-moment, many of the authorities are otherwise occupied, and are stunned about making such a decision at all, much less on the fly.  The salient issue has to do with weighing the cost of one innocent casualty versus the potential of killing 80 men, women, and children.  It becomes much more potent because everyone can see a particular little girl who could be caught in the explosion.

         It is instructive for nonmilitary people to see the kind of agony that decision-makers must go through during a war—especially the newly appointed and young drone operators.  In this instance, it is just as agonizing for the audience to sit through long sequences waiting for the higher-ups to make up their mind.  And we have to listen to considerations that have more to do with political fall-out and “covering one’s butt” than humanitarian and ethical concerns, which makes it even more nerve-wracking. 

       During and after this long process, instructions are given as to how to report the incident, and the quote at the beginning of the film becomes applicable:  “In war, truth is the first casualty” (Aeschylus).

          Director Gavin Hood and writer Guy Hibbert have created a fine picture of substance that will grab your attention and pull you right in with the feeling of being a part of the action.  They shed light on the new arena of drone warfare and help us understand some of its complexities.  The cast is part of the excellence of the film, headed up by the ever-perfect Mirren who seems to be able to convincingly play any role.  She and Rickman (May he rest in peace) make a good team, in sync with one another in timing and emotional space.  Aaron Paul subtly evinces the conscience-ridden drone operator who has no experience in actual “kills”, and knows enough about the law that he can request reconsideration of an order.  Barkhad Abdi reprises his role as a Somalian (Captain Phillips), but this time he is one of the good guys—well played. 

Eye in the Sky will make you squirm and groan about wartime decision-making.

Grade:  A                                    By Donna R. Copeland