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Still the master
by Stephen Wong
At 76 years of age and a full eight years removed from any film worthy of recognition, Robert Altman had seemingly joined the ranks of unfortunate directors who had finally "lost their touch." Disproving the critics is such sweet revenge, isn't it? Far from being left for dead, Robert Altman has reinvigorated himself, in a film that when clicking on all cylinders, is one of the most dazzling triumphs of the year. And thanks to a wickedly sharp script, and even sharper direction, there's rarely a moment when it's not.
Set in England in 1932, this period piece begins simply enough with English aristocracy gathering together for a weekend shooting party at a country estate. The hosts, Sir William McCordle (Michael Gambon) and wife Lady Sylvia (Kristin Scott Thomas), have invited their money-suckling relatives over, and along for the ride are their scores of servants. With the wealthy diners upstairs, and their overworked servants downstairs, the film starts off as a comedy of manners. But when someone in the house is killed, the film quickly turns into a playful whodunit murder-mystery that is addictively fascinating in trying to uncover.
The film is quite layered, as Altman deals concurrently with issues in the restrictive British class system of the times, as well as the complex human aspects brought about by the blame game. Utilizing wonderful performances from an ensemble cast that could put most films to shame, everyone's in on the fun, from Kristin Scott Thomas, Emily Watson, and Ryan Phillippe, to Helen Mirren, Clive Owens (both co-starred in the forgettable "Greenfingers") and Maggie Smith. For her part, Smith -- who can also be seen in this Holiday season's Harry Potter and the Sorcerer's Stone - is an absolute scene-stealer as the delightfully cruel Constance, Countess of Trentham, whose condescending and crusty aristocratic swagger is shamefully fun to watch.
Part of the fun (or should I say challenge?) is simply trying to figure out which names go with which characters, as the jumble of faces and names popping in and out of scenes, particularly in the beginning, can be quite daunting. By the time you get your bearings on what's going on though, you'll be hooked. He may be 76, but if "Gosford Park" is any indication, Altman's still at the top of his game, and probably has a few more tricks up his sleeves.
Stephen Wong, 2001
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