Love it, love it, love it!, 11 Jan 2005

It is one of these fims which begins with the ending and then puts the story together piece by piece, a format I am very taken by. It is the story of an adulterous relationship that ends in disaster. I am entirely convinced by Fiennes as Count Almazy and Scott-Thomas as Katharine Clifton but prefer the touching nursing scenes with Binoche.

My favourite bit is the little candles and the church largely due to the music. It puts a huge smile on my face and brings a tear to my eye - yes, I know it's completely unrealistic but I just don't care and admit to occasionally watching that scene on its own when I am fed up with the reality of relationships.

This is escapism at its best and I can't recommend it stongly enough. Its perfect for those who usually find romantic movies too schmaltzy and pathetic.

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Ownership, belonging and an earth without maps., 28 April 2005

By	Themis-Athena (from somewhere between California and Germany) - See all my reviews

"The English Patient" is an epic tale of love and loss; of ownership, belonging and the bars erected thereto. It unites the stories of five people: Hungarian count Laszlo de Almasy (Ralph Fiennes), mistaken as English by a British Army medical unit in Italy after professing to have forgotten his identity; Hana (Juliette Binoche), Almasy's Canadian nurse; Katherine Clifton (Kristin Scott Thomas), his erstwhile lover; Kip (Naveen Andrews), a Sikh sapper and Caravaggio (Willem Dafoe), an ex-spy and thief. All outsiders, they are struggling to come to terms with their lives: Almasy, on his deathbed, reflects back to his life as a North African explorer and his affair with Katherine; Hana believes herself cursed because everybody she cares for dies (in the movie her fiance and her best friend; in the novel her fiance, her father and her unborn baby), Katherine is taken to an all-male company of explorers in Cairo by her husband Geoffrey (Colin Firth), Kip, like Hana, is far away from home (the only Indian in an otherwise British and Italian environment) and Caravaggio lost his livelihood after his thumbs were cut off in captivity by the Germans, on a sadistic officer (Juergen Prochnow)'s orders.

Like the novel, the movie's story largely unfolds in flashbacks: After Hana convinces her superiors to let her stay and nurse Almasy in an abandoned Tuscan villa, she and new arrival Caravaggio, who holds Almasy responsible for his fate, extract the details of his life in Africa and the truth about Katherine, Geoffrey and the events uniting him with the Cliftons and Caravaggio from Almasy in a series of conversations. But at the same time, the story is anchored in the present by Hana's growing attachment to Kip, which shines a different light on the themes also driving Almasy and his relationship with Katherine. The film's outstanding cast, which in key roles also includes Julian Wadham as Almasy's friend Madox and Kevin Whately as Kip's sergeant Hardy carries the story marvelously: Probably their biggest award loss (besides Fiennes's and Scott Thomas's Oscar and other "best lead" nominations and Minghella's screenplay Oscar nomination) was the 1997 SAG ensemble award, which instead went to "The Birdcage."

In his screenplay Minghella made several changes vis-a-vis the novel; the biggest of these doubtlessly a shift in focus from Hana, Caravaggio and Kip to Almasy and Katherine, and the fact that the film is much more explicit about Almasy's identity than the novel. Both were wise choices: Hana's inner demons in the novel are largely exactly that - *inner* demons, moreover, substantially grounded in the past and thus even more difficult to portray than Almasy's and Katherine's. Similarly, once the focus had moved to the latter couple, Kip's back story would have extended the movie without significantly advancing it; and the same is true for the intersections between Caravaggio's path and that of Hana's father. Secondly, mistaken *national* identity is overall more central to Almasy's character than identity as such; so the novel's intricate mystery about his persona might well have proven unnecessarily distracting in the movie's context. Indeed, once Almasy had become the story's greatest focus, much of its symbolism virtually even required that there be no real doubt about his identity.

But in all core respects, Minghella remained faithful to Ondaatje's novel; particularly regarding its profoundly impressionistic imagery, as shown, for example, in the curves formed by the Northern African desert's endless sand dunes, which in John Seale's magnificent and justly awardwinning cinematography resemble those of a woman's body as much as they do in Ondaatje's language, thus uniting Almasy's two greatest loves in a single symbol.

Doubtlessly the most important image is that of maps: Guides to unknown places like those drawn by Almasy and his friends during their explorations, but also tools of ownership like the cartography of Northern Africa made possible by Geoffrey Clifton's photos, and ultimately symbols of betrayal, as Almasy surrenders his maps to the Germans in exchange for a plane after he feels deserted by the British. And while Kip, who spends all day searching for bombs but wants to be found at night, guides Hana to himself by a series of tiny signposts in the form of oil lamps - but still never tries to expect her, in order not to get too much attached to her - Almasy, the perpetual loner who declares that he hates ownership more than anything else, gets so attached to Katherine that he claims her suprasternal notch as his exclusive property and later refers to her as his wife, which due to her marriage to Geoffrey she couldn't truly be in life and could only symbolically become in death. - The final word on maps, belonging and ownership, however, is part of Katherine's legacy to Almasy (and I still prefer the novel's language here):

"I believe in such cartography - to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps."

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One of the best films of all time., 5 Jun 2000

By	John P O'Connor - See all my reviews

This film appeals on very many different levels.

The story that unfolds of the doomed love between The English Patient and the wife of one of his fellow pilots and explorers really is a powerful tale.

But as this is revealed, we also see the Patient struggling with a life whose only purpose has become to try to survive for long enough to remember. We see this man living parts of his life again as the memories return.

Interwoven with this is the quest of the mysterious Carravagio to find, confront and bring to justice the man whom he blames for the mutilations that he suffered at the hands of the Germans.

Then there is the story of the Army Nurse, Juliette Binoche who, despite the conflicts and tragedies that she sees remains totally committed to both her patient and the man whom she comes to love.

If these story items are not enough, the beautiful filming of Africa and Italy is real artistry. It's just wonderful to look at. Even without characters and plot, the landscapes and flying sequences would make it worth watching this film.

The acting is a delight to view as well. The actors are confronted with roles that cannot have been at all easy to portray. Despite this, every character in the film is brought to life.

This film was showered with awards when first released and it deserved every one of them. It's a great movie and you can watch it over and over again and keep finding something new to think about.

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