Rating:
Director: John McKay
Producer: Lee Thomas
Screenplay: John McKay
Director of Photography: Henry Braham BSC
Cast: Andie MacDowell, Imelda Stanton, Anna Chancellor, Kenny Doughty
| CRUSH Rating: Director: John McKay Producer: Lee Thomas Screenplay: John McKay Director of Photography: Henry Braham BSC Cast: Andie MacDowell, Imelda Stanton, Anna Chancellor, Kenny Doughty |
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Review by: Warren
Curry
3/28/02
British writer/director John McKay's feature film debut Crush (originally titled Sad Fucker's Club), casts a wide net in its attempt to balance varying, often conflicting tones in the same movie. The ambition is commendable and, although McKay occasionally loses his footing, he is able to make his film something of a challenge by creating characters that are neither entirely likable nor predictable. While on the surface this may appear to be another by the numbers British romantic comedy, the film assuredly avoids that mold and manages to be intriguing if not all together successful.
Set in present day England, two things bind friends Kate (Andie MacDowell), Janine (Imelda Stanton) and Molly (Anna Chancellor): Their ages have crept north of 40 and, to this point, all are losers in love. The women, understanding just how pathetic their romantic lives are, celebrate their misery by gathering once a week to share relationship woes. The woman who relays the worst tale is rewarded with a box of chocolates.
Kate, an American, is the headmistress (or principal) at a private school and, despite a disgruntled exterior, appears to be the one most likely to rise above her doldrums. While at a funeral one day, she becomes enchanted by the organ player at the church, who turns out to be an ex-student of hers named Jed (Kenny Doughty). In a heartbeat, the two are soon engaging in secret sexual encounters. Kate doesn't think her friends will be in favor of this relationship with a man about 20 years her junior, and the skepticism proves to be well founded.
Molly, an arrogant, abrasive, rich physician, doesn't approve of Jed from the word go. When Jed proposes to Kate, Molly takes it upon herself to destroy the relationship. Janine, a police inspector with a grown son who's also on the force, is also initially leery of Jed, but grows critical of Molly's spiteful, vindictive behavior. The situation reaches a head and then tragedy strikes.
A glaring problem of the film is its inability to explore the depth of Jed and Kate's relationship. It's painted as more of a hedonistic affair -- I believe they love having sex with each other, but I'm not sure if I buy that much deeper feelings are present. Jed's quiet, yet confident manner blends well with the often wide-eyed naiveté of Kate, and it's disappointing that McKay didn't decide to add another needed layer to the relationship.
Kate is a superbly drawn character. By the end of the film, she has undergone an exasperating journey and has truly grown from the experience. MacDowell does a terrific job of capturing the joy, sorrow and confusion of the character at every turn. Newcomer Doughty is able to be affectingly communicative through just facial expressions, and plays Jed with a seasoned confidence. Chancellor is also a standout, wearing a cold, bitter front that merges with a sly, domineering sexuality.
The film becomes most derailed after the tragedy occurs. A few more confused twists are jammed into the narrative, and this further blunts the movie's overall effect. McKay, fortunately, is able to vitalize his work by employing a smart visual style, which finds tasteful camera moves permeating the film with a sense of flow and momentum. Sure, it's talky, but the story always strides forward, although at times the destination can be unwelcome.
While Crush is unable to pay off
everything it sets up, the film's emotional scope and much of
its execution are certainly worthy of applause.
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