Felicia's
Journey (1999)
Imagine
if you built a million dollar mansion and then put a
flimsy tarp over it for the roof. That's what Atom Egoyan
does with "Felicia's Journey." Egoyan spends 100+ minutes
formulating an interesting story, developing multi-textural
characters and presenting a world in chronological flux
and then wraps this magnificent present up with a 15
minute bow that is tattered, threadbare and inharmonious
in color. It's a waste of a film.
Egoyan develops the story between the titular Felicia,
an Irish schoolgirl lost in London, and Hilditch, an
ageing man obsessed with food, with bold, long, colorful
strokes. He shows us Hilditch's true conflictions a
bit too early but we are still captivated by the story
and the characters. Egoyan uses wonderful flashbacks,
striking present tense, and subtle yet crafted hints
of the future to come in the film. We are always intrigued
by the complexities of Hilditch. Watching his story
unfold at a pace where we can cull it's fullness through
it's intricacies is simply wondrous. Felicia, conversely,
is quite easy to figure out. But watching her rather
typical story unfold juxtaposed against Hilditch's is
quite like taking a new road through a well-known park.
We know where we are and we like it's homey feeling
of comfort, but it still somehow seems new and fresh.
We've never noticed that tree before.
Mid-story, Egoyan introduces some characters who are
based in religion. Felicia's conflict with them is forced
and phony and quite unbelievable. Yet, it offers us
a reason for the way in which the story will turn, so
we forgive it. Then, at the film's approaching climax,
these religious characters pop in again and totally
veer the climax into a unforeseen and different ending
than we expect. Trouble is, it doesn't work. We never
for one moment believe anything that happens in the
last 15 minutes of the film. It's senseless, hurried,
forced and contrived. Why does Egoyan allow himself
to be painted into this corner and then find no adequate
solution? The script, which Egoyan penned, is based
on a novel by William Trevor, so this ending must replicate
that earlier work. Still, Egoyan seems incapable of
making this transition acceptable. It fails and negates
all that has come before it.
Egoyan films the piece in a world that is stuck in time.
Hilditch begins the film listening to an old 50's LP.
His car is a flashback. His house is more history than
home. Hilditch represents a bygone era that we all tend
to see as idyllic. This, I suppose, is meant to be ironic
at the films end. But, still, Egoyan's ability to capture
this lush and lustered world is magical. It works so
well off Felicia's subdued modernism. Egoyan, if nothing
else, continues to prove that he is a filmmaker with
a wonderful visual sense. His film is always interesting
to look at. His opening tracking shot is marvellous.
He gives new meaning to the word "lush."
Egoyan also finds the perfect actors for the piece.
Bob Hoskins is a the precise character to fulfill Hilditch's
personality of a troubled boy grown to troubled man.
His ability to mask the character's more true nature
until the appropriate time for unveiling is pure wizardry.
He never once fails here. Even when the script fails
him so miserably in the final reel. Elaine Cassidy,
meanwhile, as Felicia, is a quiet and reserved angel
who lights down upon the Earth already in trouble and
immediately searching for answers. She too is a model
of tranquil energy, a perfect counterpoint to Hoskins
that both emulates him and careens off of him.
"Felicia's
Journey" is a shame. Egoyan fails miserably. And I can't
imagine that he has anyone but himself to blame. His
conclusion here is nonsensical and ridiculous. And it
ruins what could be a masterpiece, shoving it into the
garbage can like so many runaways in trouble.
Notes:
Cinematography by Paul Sarossy.
The
film, it's cast, and crew, are nominated for several
Genie Awards in Canada.
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