|
Starring Ian McKellan, Brendan Fraser, Lynn Redgrave, Lolita Davidovitch. Directed by Bill Condon.
Long retired Hollywood director James Whale (McKellan), director of such classics as Frankenstein, The Bride of Frankenstein and The Invisible Man, has just returned from the hospital after suffering a slight stroke. His loyal, sour maid Hanna (Redgrave) tends to his needs, preparing his meals and serving him drinks. Since his exit from the movies, Whale has spent his time painting, usually reproducing classic painters' work such as Rembrandt. While still able to move and converse easily, he increasingly finds he is unable to control his thinking, and old memories from the past invade his thoughts. Any stimulation seems to bring on stroke symptoms, requring him to pop some pills. And the stimulation that he most enjoys is looking at young men. A local university student comes to Whale's home for an interview, and is goaded into stripping his clothing, one piece for each question Whale would answer, causing a minor stroke recurrance. The devout Hanna does not approve of her Jimmy's sinful ways. Whale's new gardener and lawn care man Clayton (Fraser) is working outside one sunny day when Whale invites him for some refreshments by the pool. Fascinated by meeting someone who made classic movies, Clayton is convinced by Whale to pose for a sketch portrait. Far from being the seduction Whale at first envisions, Clayton is someone he feels free to discuss his feelings and past with. An officer in World War I, Whale talks about not only the horrors of living two years in the trenches, but of a man who fought beside him, whom he loved, and who loved him. The nightmares of war begin to haunt him even when he isn't trying to think about it. Clayton becomes a regular companion of Jimmy's, trying to fill the void in his own life after his girlfriend (Davidovitch) called it quits, and he learns more about Hollywood in the 1930's, until Whale's sudden death. Based on a book about him, the movie concentrates on Whale's life at the end of his life, just prior to his death "under mysterious circumstances". The movie provides a coherent scenario for his death, and events leading up to it, but that is not what the movie is really about. While Whale might casually dismiss anyone suggesting he misses moviemaking, bit by bit he lets his bitterness slip out over how one expensive flop caused by a meddling studio cut short his career, and how the public does not fully appreciate the love and style he put into his work, unable to differentiate it from the work of studio "hacks". While he maintains he loves his freedom, you can't help but get the impression that he'd go back to making movies in a minute. He also displays the lingering pain of someone who tried, but never was able to gain his stern father's approval. McKellan is fantastic. He attacks the role with relish, making the most of the great lines in an excellent script. Whenever he's on screen, the film is totally engrossing, and fun. The surprising thing is that there is lots of humour, not the Adam-Sandler- gee-isn't-my-lisp-funny kind, but the droll and witty kind, delivered by both Whale and Hanna. Redgrave is equally as good, almost unrecognizable as the no-nonsense servant who has just a little bit of a thing for her boss. Fraser is no slouch either, holding his own with his more experienced colleagues. While not a movie for all tastes, Gods and Monsters is an intelligent and entertaining look at a colourful, talented Hollywood director.  
|