By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
As the movie cascades between the patient's new Gothic environment and his flashbacks of Cairo and the sands beyond, Hana (Juliette Binoche), a French-Canadian nurse, becomes his dedicated friend--despite her belief that everyone who loves her dies. Hana says, "I'm in love with ghosts. So is he. He's in love with ghosts." Before long she falls in love with a sapper (bomb disposal expert) from India--a Sikh named Kip (Naveen Andrews)--who also develops a bond with the burned man (they banter about Kipling). Caravaggio, who suspects and confirms the worst of the patient's past, finds they share a surprising affinity. Facing up to his tragic, tortured history, the patient goads the grief-stricken survivors into accepting their unruly lives.
If this transit provides the dramatic arc of The English Patient, its emotional core comes from Minghella's inspired handling of the molten love story that bubbles up in the background. It turns out that the patient isn't English at all, but the Hungarian Count Laszlo de Almasy, and that he wound up broken and incinerated because of his romantic devotion to a brilliant, married Brit, Katharine Clifton (Kristin Scott Thomas). What's more, their amorous tribulations ensnared him in a skein of betrayal. Katharine's husband, Geoffrey Clifton (Colin Firth), was a fellow member of the International Sand Club and a British operative. Like Michael Ondaatje, the author of the original novel, Minghella gives us an old theme with a modern twist: not only is war hell, but the devils who propel it switch from side to side.
It's possible to enjoy the book for long stretches without knowing exactly what's going on: It combines stark conflict and lyric flights in a way that lifts sympathetic readers into an aesthetically charged alternate universe. Ondaatje accomplishes this feat not by florid description, wild similes, or any of the other cliched devices we associate with "lush prose," but by focusing on concrete details as sharply as any movie director--the white marble lion Hana can see from a hospital in Pisa, or the phosphorous green of the sapper's crystal radio set. In his skillful adaptation, Minghella manages to conjure similar heightened effects while compressing the narrative. In the opening shots, a brush paints prehistoric swimmers on what could be parchment or a wall, and a man and a woman fly in a two-seater plane over the undulating desert sand. Minghella creates an atmosphere thick with poetic and erotic suggestion. With a fabulist's instinct, he sustains that atmosphere even when the story turns plodding or tricky, or when its message obtrudes.
Minghella brings Ondaatje's vision of nationalism sabotaging human bonds into the movie in deft, balanced, and understated ways. The International Sand Club--the men who gather with Almasy to chart the Egyptian-Libyan desert and explore vanished worlds--forms a utopian vision of international cooperation; that 20th-century warrior states covet the club's maps is achingly ironic. But when Almasy and his friends wind up on opposite ends of an epochal world crisis, it's too easy for a novelist or filmmaker to blame the big bad forces of nationalism without demystifying the explorers' own arrogant complacency and naivete. It should be jarring--no, harrowing--for us to root for anyone who satisfies personal vows and desires no matter the public consequences, to the extent of killing Allies or cooperating with Nazis. Yet the movie, like the book, ultimately dashes chaos and guilt away in a fervid romanticism. It's a whitewash job done with sperm.
Clearly, Ondaatje is lucky in his adapter, because Minghella is a storybook moviemaker--indeed, he wrote all the episodes of the Emmy award-winning Jim Henson's The Storyteller. One medieval fable (as collected in a later book) began with a Samuel Johnson quote appropriate to The English Patient ("Life protracted is protracted woe") and ended with a vision of its hero wandering "as we all do, between Heaven and Hell," always falling an inch short of Paradise because he succeeded in scaring Death, and doing his dance of death-in-life "just before sleep, or at places where sand meets sea, land meets sky." The magic hour is Minghella's metier, whether it marks the twilight of a life or a day; no one is better at the limbo rock. There's an expressive otherworldliness to the fleeting shots of the Bedouins tending to Almasy; they cover his face with a mask of plaited palms that both makes him seem a primordial tribesman and fractures his view of the universe. At least Almasy knows that he reached Paradise in the arms of Katharine. And as Katharine, Kristin Scott Thomas fills the screen with her brainy sensuality--after stealing Angels and Insects just a few months ago in the role of a supposed plain Jane.
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