0
0
In A Good Year, Russell Crowe once again teams up with director Ridley Scott—but fans of Gladiator’s chariots and armor and dramatic battle scenes are in for a big surprise this time around.
The only thing Crowe’s latest character has in common with Roman warrior Maximus is his name. In A Good Year, he plays Max Skinner, a tough-as-nails modern-day London stockbroker who learns that his Uncle Henry (Albert Finney) has died. And since Henry left no will, his chateau and vineyard in Provence now belong to Max, his next-of-kin.
Max flies out to France, ready to turn a quick profit—but he discovers that selling Henry’s vineyard isn’t as easy as he thought it would be. As soon as he hears the news of Henry’s death, it causes Max to look back on his childhood—when, as an orphaned child (played by the always adorable Freddie Highmore), his happiest days were in the summer, when he went to stay with his eccentric uncle. And when he arrives back at the chateau, the memories become even stronger. To complicate things further, there’s also Duflot (Didier Bourdon), who’s given his life to working the vineyard—and who doesn’t want to lose it. And just as Max is cleaning up the place and getting it ready to show, a young American woman named Christine (Abbie Cornish) arrives, claiming to be Henry’s long-lost daughter—which, if it’s true, would make her the vineyard’s rightful owner. And, finally, there’s the beautiful Fanny Chenal (Marion Cotillard), who makes Max question whether or not he really wants to sell.
Visually, A Good Year is breath-taking. The views of the French countryside are spectacular—but I wouldn’t expect less of Scott. The story, however, isn’t nearly as strong and dramatic as I’d hoped. Granted, it’s not a horrible story—and it actually managed to hold my attention for the majority of the two hours—but it’s really nothing new. Crowe’s character is a calloused, womanizing, nose-to-the-grindstone workaholic who’s forced to take a little time off in the country, where he’s reminded of his childhood—and, of course, he meets a beautiful woman who’s somehow different from all the others. You don’t need to be a film scholar to know where it’s headed—and as it’s heading there, it meanders around, and not a whole lot happens.
I applaud Crowe for trying out a completely different role—for trying to show moviegoers a softer, more romantic side (one that wouldn’t possibly throw telephones at people). But I’m afraid it just doesn’t work that well. Crowe is, without doubt, a talented actor—but there were times when I could tell that even he wasn’t buying it. During some of the sappier lines, I think I may have even caught a pained expression on his face.
As far as chick flicks go, A Good Year is a beautiful movie that will make you want to run out and book a flight to France. But, unfortunately, as far as Russell Crowe and Ridley Scott go, A Good Year could have been much better.
