Актеры: Kevin Kline (as George Monroe), Kristin Scott Thomas (as Robin Kimball), Hayden Christensen (as Sam Monroe), Jena Malone (as Alyssa Beck), Mary Steenburgen (as Colleen Beck), Mike Weinberg (as Adam Kimball), Scotty Leavenworth (as Ryan Kimball), Ian Somerhalder (as Josh), Jamey Sheridan (as Peter Kimball), Scott Bakula (as Officer Kurt Walker), Sandra Nelson (as Nurse #1), Sam Robards (as David Dokos), John Pankow (as Bryan Burke), Kim Delgado (as Bob Larson), Barry Primus (as Tom)
Описание: Лауреат премии Оскар Кевин Кляйн играет архитектора Джорджа Монро, который всю свою жизнь мечтал построить своими усилиями дом, свой собственный дом. Но он всегда откладывал эту свою затею, пока не понял, что так дальше жить нельзя: его жена бросила его, он отдалился от сына и от друзей, да и с работой все было далеко не гладко.
Рецензии: Spoilers herein.
What a great notion! What vapid execution.
Winkler is a veteran, and knows the long-discussed challenge of increasing the power of film by some clever introduction of space. All the great directors have had some whack at this challenge. Here's a rather direct try.
The great notion is to literally make a metaphor of a spatial structure. Build a story around the home. Toss in some `Ice Storm' meets `American Beauty' neighborhood shenanigans. (Consequently, make the neighborhood homes use vile architectural notions.) Place it on the ocean allowing a `freedom' extension to the metaphor for the characters to exploit.
You can just see Winkler's conference room brainstorming: make the hero someone who has spent his entire life creating models but never a real structure. What the heck, set it up so he gets fired the same day he gets a death sentence. Have the art department come up with a structure worthy of the metaphoric weight.
Get Kline, probably the best B-list physical actor, someone whose acting philosophy deliberately creates space around him. Use Zsigmond as cinematographer, a veteran who can stay on budget, keep things lavish and (perhaps most importantly) someone who is enthusiastic about spatial photography (like Welles' `Othello').
The house design that the designers came up with is extraordinarily apt. Just as one wishes `Waterworld' focused on that remarkable trimaran, one wishes that here Winkler would have spend less time on smaltz and more on the original, central metaphor: the house.
That house is post and beam construction which collects the weight in posts, allowing the walls to be non-loadbearing. Here, it allows the house to be transparent, directly supporting the metaphor. The posts are sculpted and exposed, using a mortise and tenon technique. Very clean and readable. There is clear Japanese influence in stacked lintels which makes the whole affair more airey. The Japanese notion of M&T is overtly sexual, and as here, often promiscuous. In short, the designers came up with a structure that is odd enough to be remarkable, very strongly reflects the metaphoric intent and happens to allow some effective framing of shots.
But alas, if it was used effectively, those shots were left behind.
Side comment: Steenburgen is a mistake -- because she is so good. She oozes mature sex in such a believable way she completely embarrasses the other two women. One is a child, but one the much celebrated Scott Thomas. Steenburgen's Oscar was no mistake.