THE CONSTANT GARDENER

Director: Fernando Meirelles (International/Brazilian film work resume)
Starring: Ralph Fiennes, Rachel Weisz, Hubert Kounde, more

2005 was an extraordinary year for film, and The Constant Gardener is a movie that will suffer for it. This story of western corruption and exploitation of Africa would have been a notable film in most years. It’s not quite at the level required for Academy Award consideration, but it’s one of those films that would have been mentioned in the same breath with contenders most years. In ’05 I think it’s unlikely to get that level of exposure, although the Golden Globe for Rachel Weisz’ performance may prove me wrong.

In structure this is a topical thriller set in Kenya, but with some unique plotting. Rachel Weisz is in fact never “alive” in this film. Her fine performance is given in a series of flashbacks after she is found murdered on a back road in the bush. Fiennes plays a low level diplomat searching for truth after his wife’s death. Was she unfaithful? Was there something more? It’s an intriguing search for buried truth revealed only by thin slivers of evidence poking above. Eventually a plot of international intrigue takes over the story, and although I found this part less effective than the earlier scenes, it’s far from terrible.

Yes, this film is a liberal poster child, showing the corruption of the huge multi-national corporations and their various government partners. If you’re the type to get upset with viewpoints of this sort, you’ll be happier to stay away. As a story it’s not nearly as smart, balanced, or complete as Syriana, but it’s still strong from start to finish. There are definitely bad guys in this film, and they're the global corporations. However, the best part of this film comes in the midst of the plot, where we’re trying to find out if they’re the only bad guys.

Rachel Weisz gives a very good performance as a young liberal crusador. Fiennes is also quite good as her more temperate, diplomatic husband searching for answers. A fine film in most ways, although not subtle or complete enough to be a great one.

Standouts: Weisz and Fiennes performances, a good script and solid direction.
Blowouts: This story of exploitation of Africans never humanized the Africans being hurt. It felt more like white-man’s guilt, than a real quest into their lives.

Grade: A-

1/24/2006