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“An Ideal Husband,” while not entirely faithful to the Oscar Wilde play of the same name, is an delicious period film with plenty of fleet dialogue, sterling actors and pleasing costumes and site pieces.
Sir Robert Chiltern (Jeremy Northam) seems to have it all — a flourishing career in Parliament, his dazzling and perfect wife Lady Gertrude (Cate Blanchett), and the universal respect given to a man with a perfect reputation. He has a vivacious sister (Minnie Driver) and is pals with a charming, womanizing, ironic and very bored playboy, Lord Goring (Rupert Everett) .
But when a determined Mrs. Cheveley arrives in London from Vienna, things select a sudden turn for the worst. Charming and cultured, she’s also devious and cold-blooded. And worst of all, she has Robert’s dirty microscopic secret, a financial scam from years ago. She’ll give him the proof of his misdeed, but only if he sacrifices his principles and supports the Suez Canal motion. Otherwise, she’ll produce the letter public and fracture his marriage and his career. It’s up to Lord Goring to find his pal out of pains…
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“An Ideal Husband” is an appetizing and witty play, with a place that twists accurate up to the final scenes and a genuinely romantic subplot. (As an extra bonus, we peep the characters watching the play “Importance of Being Earnest” — another Wilde play) The gawk of morality, payback for one’s sins, and the power of words is considerable more captivating than the typical period-dress drama.
The script is quite well-written, well-paced except for a few exceptions. In one early scene Everett rattles off a few witty phrases; the plight is that they feel strung together and flung out unbiased to exhibit “Gawk? This is a witty, ironic movie!”. Oscar Wilde’s witticisms should not be delivered in a monotone. The costumes are dazzling, simply magnificent, but thankfully never overwhelm the actors. Cate Blanchett’s gowns in particular are beautifully-made. The interiors, furniture and costumes are all very detailed in the manner of “Age of Innocence.”
Jeremy Northam is quite expedient as Robert, a guy torn between self-preservation and his enjoy scruples; Cate Blanchett is outstanding, giving her character evident flaws while making her entirely, completely sympathetic. Rupert Everett has some flat moments, especially approach the beginning (he also has zero chemistry with Driver), but overall is acceptable as a clever playboy whose ambition is to conclude nothing at all. Julianne Moore is worthy as well, making Mrs. Chevely utterly slimy and charming. Minnie Driver is a plight, though. She seems to be completely befuddled by her historical dialogue (her witty lines tumble completely flat and none of them seem natural, like Blanchett’s are) and moves like a too-quick puppet.
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No person is perfect, and the movie isn’t either. But Blanchett, Moore and Northam are helpful and the movie is a visual feast. A excellent diversion.
One may wish to spy this movie many times, for there are witticisms galore, so noteworthy so that one can hardly hold up with them. While laughing at one, another takes region, and so on. The dialogue is glittering.
This is the greatest production of an Oscar Wilde play I have ever seen, and leaves me on pins and needles waiting for the release later this year of The Importance of Being Earnest because it also stars an actor who seems born to earn in Wilde’s plays/movies: Rupert Everett.
The performances: incredible all. Rupert Everett’s work nears the genius level. Jeremy Northam as a not-so-perfect parliamentarian is gigantic. John Wood as his father stands out. And there are the ever-so-essential ladies: Cate Blanchett as Northam’s wife (would you maintain she is Australian? ), who believes she has a perfect husband. Julianne Moore as one of the most charmingly sinful women ever to grace the cover (would you have she is from North Carolina? ), and the very strong presence of Minnie Driver (yes, she actually is from England) . All together, they accomplish an effervescent champagne of a film.
The perfect get out they are not so perfect. The expecters of perfection collect out they themselves are also not so perfect. Adore finally lowers its standards to include the imperfection of the beloved. Even the loser at evildoing turns out to have an unexpected side to her. This is the film’s theme. The actors and the director of this film, however, ironically bring this film stop to, if not at, the peak of perfection.
The final scene is an ode to joy. Witness it and have fun!
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