And then those stark white letters on the black background. I will not describe what happens at the end, except to say nothing has really prepared us for it. She also had a nasty habit of saying rude things to break up social events, and you can hardly blame Brooks for leaving - although he, too, was so lacking in ordinary human qualities.ĭecadence, of course, is the word to describe this world, but nothing really prepares us for its final descent. She was all clothes and hair and endless cigarettes, and conversation that was never really adequate for the level she was aiming for. Spanish actor Unax Ugalde, actress Mapi Galan and actor Eddie Redmayne. Spanish actress Belen Rueda attends the premiere of 'Savage Grace' on Januat the Palacio de la Musica cinema in Madrid. The tone of the film is set by Julianne Moore, in what I suppose must be described as a fine performance, although she has little enough to work with. Browse 161 savage grace madrid premiere stock photos and images available, or start a new search to explore more stock photos and images. Sam, an art dealer, is also in the mix, and indeed mother, son and walker all end up in bed together. Tony was of indeterminate sexuality from the beginning and now tilts over into homosexuality, with such friends as Jake (Unax Ugalde), a pot-smoking beach creature.
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He left with Blanca ( Elena Anaya), the Spanish beauty Tony brought home from the beach one day, only to watch his father seduce her from right under his nose. They are known everywhere, loved nowhere, except for a few hangers-on like Sam ( Hugh Dancy), a gay "walker" who accompanies Barbara after Brooks has left.
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Oh, but they all look so elegant! They know how to dress and how to behave (and misbehave) in the high-society watering holes of New York (1950s), Paris (1960s), Majorca and London (into the 1970s). Their son, Tony ( Eddie Redmayne), who narrates much of the story, is raised as her coddled darling, but feels little real love from either parent and grows into a narcissistic, hedonistic, inverted basket case.
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By the third generation, the fortune has produced Brooks, a vapid clotheshorse who nevertheless perhaps deserves better than a wife who is all pose and attitude, all brittle facade, deeply rotten inside. Brooks' grandfather invented Bakelite, used in everything from cooking utensils to nuclear bombs.
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At least on DVD, we’ll always have the pair decompensating across Europe, glamorously.The movie tells the true story of the marriage of Barbara Daly ( Julianne Moore) and Brooks Baekeland ( Stephen Dillane), who glittered erratically in the social circles of the 1940s through the 1960s. But for all the artistic success of their recent material, it’s hard not to wish that performers were able to keep a bit of that riskiness in awards season. Both stars put the film behind them easily. He followed it with a role in The Other Boleyn Girl and the miniseries The Pillars of the Earth, and won a Tony in 2010. Savage Grace was a chance to shore up indie credibility, and one that seems to have worked: The next year, she appeared in A Single Man, and the year after that, The Kids Are All Right.įor Redmayne, it was simply a job: It was only his third theatrical film. Savage Grace was released at a precarious moment for both Moore and Redmayne: Five years removed from her double Oscar nominations for Far From Heaven and The Hours in 2003, Moore had seen bids at mainstream stardom, like The Forgotten and Laws of Attraction, meet with scathing reviews. These movies take pleasure in depicting suffering, too-just in a different, more easily awardable fashion. Redmayne’s Oscar-nominated performance, too, is effectively that of a secular saint: His character’s real-life complications, including leaving the wife who’d been his longtime caretaker, are given a happy spin, while his heroic bravery in the face of illness gets the focus. The trepidation may well still be with her: Still Alice, despite the challenge it presents Moore, is pretty safe Alice is unimpeachably virtuous, and her downfall is entirely tragic. Scott described the film’s decadence, its delight in the fall of the Baekeland dynasty, before noting that the movie “doesn’t seem quite sure of how to communicate its own fascination with such doings, whether to convey shock, envy, pity or bemusement.” Moore, in an interview, noted her “trepidation” about the film’s subject matter.
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The film was too in love with its own glittering images for critics at the time: In the New York Times, A.