Possession (2002)

Director:

Neil LaBute

Writers (WGA):

A.S. Byatt (novel)
David Henry Hwang (screenplay) ...

Release Date:

4 September 2002 (France)

Genre:

Romance | Drama | Mystery

Tagline:

The past will connect them. The passion will possess them.

Plot:

A pair of literary sleuths unearth the amorous secret of two Victorian poets only to find themselves falling under a passionate spell.

Plot Keywords:

Poet | Spell | Love Letter | Rival | Drowning

Awards:

1 nomination

Cast

Gwyneth Paltrow	...	Maud Bailey
Aaron Eckhart	...	Roland Michell
Jeremy Northam	...	Randolph Henry Ash
Jennifer Ehle	...	Christabel LaMotte
Lena Headey	...	Blanche Glover
Holly Aird	...	Ellen Ash
Toby Stephens	...	Fergus Wolfe
Trevor Eve	...	Cropper
Tom Hickey	...	Blackadder
Georgia Mackenzie	...	Paola
Tom Hollander	...	Euan
Graham Crowden	...	Sir George
Anna Massey	...	Lady Bailey
Craig Crosbie	...	Hildebrand
Christopher Good	...	Crabb-Robinson

MPAA:

Rated PG-13 for sexuality and some thematic elements.

Runtime:

102 min

Country:

USA | UK

Language:

English | French

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

Iceland:L | Malaysia:U | Argentina:13 | Australia:M | Canada:PG | Finland:S | Germany:12 | Netherlands:AL | Peru:14 | Philippines:PG-13 | Singapore:PG (cut) | South Korea:15 | Sweden:Btl | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12 | USA:PG-13

Filming Locations:

Athenaeum Club, Pall Mall, St. James's, London, England, UK

Company:

USA Films

Trivia:

A large part of Church Street in Whitby was dressed to give it the appearance of a 18/19th century fishing town. Gwyneth Paltrow insisted that the whole place was screened off so that she was not visible to the small crowd of on-lookers. Jeremy Northam, however, took time to go and talk about the film to the bystanders. Miss Paltrow also turned down an offer from the local dignitaries to meet the mayor and be shown around the town. The Whitby Gazette carried a massive banner headline declaring "PALTROW SNUBS WHITBY".

Goofs:

Factual errors: Bailey's driving license has 'Miss Maud' on the line for forenames. UK driving licenses don't have titles or Mr/Mrs/Miss on there.

Quotes:

Fergus: Mitchell's late again?
Blackadder: ROLAND, asked for another day off, Fergus.
Fergus: Oh, really? Where's he gone?
Blackadder: I didn't ask, and he didn't say. He's an American for God's sake. He's probably off trafficking drugs.

Movie Connections:

References The French Lieutenant's Woman (1981)

Soundtrack:

Possesso

pretty to look at, but have the filmmakers understood the book?

This film offers some gorgeous visuals and some great performances - notably those by Jeremy Northam and Jennifer Ehle (a bit of a casting joke since those two are famous for playing Jane Austen's Mr. Knightley and Elisabeth Bennet, respectively) - but as a literary adaptation, the movie falls short on too many points. Sadly, the filmmakers have missed out on most of the central themes of the novel, without substituting a sufficiently interesting interpretation of their own.

A.S. Byatt's novel examines the shifting relationships between men and women a century and a half apart - to that end, the characters in the two storylines (the Victorian and the contemporary) mirror each other deliberately. For some unfathomable reason, the screenwriters have decided to cut out completely two crucial characters from the modern-time storyline - Val, Roland's girlfriend, and the feminist (and Lesbian) researcher friend of Maud's, whose name I forget - their equivalents in the Victorian period are Ash's wife, and Christabel's lover Blanche.

One of the main interests of the original story lies in the ways in which the relationships between those characters have changed because of the changes in society that the 20th century has brought - particularly the way the main characters relate to each other (significantly, Maud is the stronger and more successful person in the modern-time relationship) - but also with respect to all the other characters involved (Roland and Val's relationship, which is based almost exclusively on sex, as contrasted with Ash's and his wife's relationship, which is entirely sex-less - the point here being that in a truly fulfilled relationship, these two things must be in balance).

Also, the characters, particularly that of Roland, are bent and twisted beyond recognition - I have nothing against Aaron Eckhard or his performance, but he simply plays a completely different character from the Roland Mitchell of the novel - who is *not* brash (nor is he celibate), but has a certain mousy-ness about him that is quite essential to the plot. Also, he is British for a reason, so making him into an American adds a completely wrong dimension to his and Maud's differences. Judging from the director's commentary, the main reason for casting Eckhard was that he's a buddie of director Neil La Bute's - it's a sad thing that the filmmakers decided to twist the character and plot to accomodate the actor, rather than making a more informed casting choice, as I am sure there are plenty of suitable British actors out there that would have fitted the part admirably.

Gwyneth Paltrow offers a convincing enough performance, and is well-cast as Maud Bailey - a woman whose physical attractiveness stands in the way of her being taken seriously as the bright academic she is. But she is not being given enough scope to be the reserved intellectual she is supposed to be, because her relationship with Roland developes far too quickly, and with not enough plausibility (particularly given a certain lack of chemistry between the two actors) - thereby missing another of the main themes (and contrasts) in the novel.

Having said that, the film is worth watching for its final five minutes alone - and incidentally, this is the one scene that catches most accurately the spirit, and the point, of the original novel.