If you've ever been to Venice you'll see that it has two moods; the everyday touristy, grand canal, glassy goods and glassy eyed, singing gondolier one which is visible on the surface and in every square. And then there is the more malevolent broody one; with the passages off to nowhere, the sullen and unknown. This is of course the home of Carnivale, where masked intentions are hidden from obvious view.
Movies in Venice tend to go with the latter, more sinister feel; from DEATH IN VENICE to DON'T LOOK NOW and this film is no exception, which is no surprise knowing the provenence of the original book, written by Ian McEwan. It tells the story of a couple who've come to Venice to sort out their marriage; to give it one last try. And on their explorations they fortuitously run into Robert who shows them around for their own and his own interest.
The couple is played by the impossibly statuesque Rupert Everett and Joely Richardson (another one of Vanessa Redgrave's daughters.) And just the casting of Christopher Walken should give an inkling of further adventures. Apart from one or two changes, it closely follows the book and ultimately shows that there is an underlying hidden love between the couple that finds difficulty in expressing itself.
The real star is the setting. It's moody, dark, scary, exciting. The sets themselves are rich and opulent; very Arabian night plush. The general feel is languid and louche. Add to that Harold Pinter's script, who can make buying a bus ticket sound ominous and you know you're in for an interesting ride.
Movies in Venice tend to go with the latter, more sinister feel; from DEATH IN VENICE to DON'T LOOK NOW and this film is no exception, which is no surprise knowing the provenence of the original book, written by Ian McEwan. It tells the story of a couple who've come to Venice to sort out their marriage; to give it one last try. And on their explorations they fortuitously run into Robert who shows them around for their own and his own interest.
The couple is played by the impossibly statuesque Rupert Everett and Joely Richardson (another one of Vanessa Redgrave's daughters.) And just the casting of Christopher Walken should give an inkling of further adventures. Apart from one or two changes, it closely follows the book and ultimately shows that there is an underlying hidden love between the couple that finds difficulty in expressing itself.
The real star is the setting. It's moody, dark, scary, exciting. The sets themselves are rich and opulent; very Arabian night plush. The general feel is languid and louche. Add to that Harold Pinter's script, who can make buying a bus ticket sound ominous and you know you're in for an interesting ride.