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ArtsNFashion
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| Nazi Art Thieves at Work |
Cast: Helen Mirren, Ryan Reynolds, Allan Corduner, Daniel Bruhl, Katie Holmes, Elizabeth McGovern, Charles Dance, Max Irons, Tatiana Maslany, Jonathan Pryce, Frances Fisher, Moritz Bleibtreu
Review by James Colt
Harrison
Woman in Gold, one of the world’s most famous
paintings produced by Austrian artist Gustav Klimt (1862 – 1918) was the
inspiration for the title of the movie. The correct title of the painting is
Portrait of Adele Bloch-Bauer. Based on a true story with a script written by
Alexi Kaye Campbell and E. Randol Schoenberg (and his life story as well), the
film stars the formidable British actress and Oscar® nominee Helen Mirren. She
plays the real-life Jewish refugee Maria Altman who is attempting to get her
family’s art work returned that had been stolen by the Nazi’s during World War
II.
Klimt’s painting of Ms. Altman’s aunt Adele,
which ultimately became the famous Portrait of Adele Boch-Bauer, was part of
his Golden Period in which he mixed paint with gold leaf, thus giving the
painting the world-reknown glitter effect. Klimt’s style was a mixture of the
Art Nouveau period and the Arts & Crafts style. His art was popular in the
very early 20th Century when he painted them around 1908.
As Mrs. Altman, we expect no less of Mirren
than a stellar acting performance, and she delivers. The wizards in the makeup
and costume departments have transformed Mirren into an octogenarian Jewish
lady of some substance and education. She plays Altman with some restraint
throughout most of the film, but she rises to indignation and strength in the
scenes where it is needed. Her determination to right a terrible wrong made
during World War II is deftly achieved by the flawless Mirren.
Her story, and subsequently the story of the
creation of the painting, is done with the judicial use of flashbacks. Altman
is played as a young girl of 19 by the pretty Tatiana Maslany. Maria sees no
way out of the inevitable takeover of Austria by the Nazis. She must leave for
the United States with her new husband, played by the handsome British actor
Max Irons (son of Jeremy Irons).
Maria’s father is played with verve and
authority by the wonderful British actor Allan Corduner, who must speak all of
his lines in flawless German. Corduner shows just the right amount of love and
pride for his daughter. But he knows she must flee to save her life. Corduner
is incredibly touching in a silent scene when they must separate. Using only
his expressive eyes and slightly quivering lips, Corduner’s performance is
heart-breaking and very nearly overwhelmingly sad when he realizes they will
never see each other again. Corduner has one of those rare career-moments when
he steals the picture.
In order to help her with the authorities who
can retrieve her artwork, Altman hires young American attorney E. Randol Schoenberg
(author of the script. He is also the grandson of world famous composer Arnold
Schoenberg). He is a green young man who is smart and broke. Altman figures his
inexperience could be a plus because he knows no boundaries. Ryan Reynolds is
correct for the part, being young, handsome, personable, and appears
inexperienced and naive as a lawyer. This film will put Reynolds a notch higher
in the leading men category in films.
Altman and Schoenberg run into many obstacles,
not the least of which is the Belvedere Museum in Vienna holds possession of
the famous painting and is reluctant to let it go. Although there is no great
mystery in the story, director Simon Curtis guides Mirren to be a formidable
and determined woman when she knows she’s right. Reynold’s lawyer Schoenberg
gets fired up and unstoppable when he finds clues that are all in their favor.
The painting is in plain sight, but the ownership is greatly in question.
Therein lies some of the film’s mystery---who owns it and who will inherit it?
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