THE LIBERTINE
UK, 2005, 114 minutes, Colour.
Johnny Depp, John Malkovich, Samantha Morton, Rosamund Pike, Kelly Reilly, Tom Hollander, Johnny Vegas, Rupert Friend, Clare Higgins, Francesca Annis, Richard Coyle, Jack Davenport, Freddy Jones.
Directed by Laurence Dunmore.
Some audiences who have not done their homework to find out what this film is about will be attracted by the promises of a salacious-sounding title. If they buy a ticket, they will probably find the film tough going. While it is very frank in its language and theme, it will disappoint the prurient. It is much more serious than that. And, with its love of the English language and theatre, it might come across as very high-brow. John Wilmot, the dissipated Duke of Rochester, the subject of the film would approve both of the frankness and the intelligence, probably praising the latter while calling for more of the former.
This is a very good film for those who have been warned. The Restoration period was a huge reaction against the Puritan decades of Oliver Cromwell, the Protectorate and the Commonwealth. And the rakish Charles II led the way. We have seen many Restoration stories and remember Nell Gwynn. Some of us have studied Restoration comedy and wonder why the Hays Code was not introduced in the 1660s instead of the 1930s! As the opening information to the film reminds us, these were excessively permissive times.
And then centre-screen is Rochester himself in bold, dark grey close-up, warning us that we will not like him. And he does his best to ensure this, not only for the audience but for his extraordinarily patient wife Elizabeth (Rosamund Pike) and even Charles II (a nuanced performance by John Malkovich, often acting with his eyes rather than his voice) and the court entourage. Rochester embodied the spirit of the times, writing plays and poems (described as ‘philosophy in verse’), womanising as if there were no tomorrow (and, in fact, there was little tomorrow for him as he died at 33, disfigured by syphilis), a boorish drunk, masquerading as a doctor when Charles II banished him, yet taking theatre very seriously and directing Elizabeth Barry (Samantha Morton at her best) to become the greatest actress on the London stage. Yet, he was a critic of the politics of the times, upsetting the king with his denunciations but making a final almost-death speech to the Lords in support of the succession of Catholic James II.
Why does the film work so well, especially when it is often difficult to peer at? The photography is not quite black and white, not quite colour. It does not have the Restoration splash and brightness we have come to expect. This is a literally muddy England. The colours are not only muted, they almost disappear. However, this is balanced by a musical score which echoes the instruments and styles of the times.
There are two reasons for The Libertine’s success. The first is the writing as Stephen Jeffrey adapts his very literate play for the screen. The film values English language. The second reason is the performance by Johnny Depp. In 2004-5, he appeared in Finding Neverland, Charley and the Chocolate Factory, Corpse Bride and The Libertine. He is certainly one of the best American actors of the times (though all these productions are British and he uses an impeccable British accent). This is a performance of deserved award-winning calibre.
In a way, this is a pity because The Libertine and its portrayal of the period will be too much for many audiences in both theme and in language.
1. A British production about British history? The 17th century? The Restoration? The reaction to puritanism? The era of libertines?
2. A historical perspective, serious, humorous? Mood? A cautionary tale?
3. The re-creation of the period, costumes and decor, sets, the mansions, the London streets, the theatre, the countryside? The musical score? The coarse language?
4. The colour grading? A slightly faded look? The hand-held camera work except for the theatre scenes? Panoramas?
5. The introduction to Rochester? His speaking straight to camera, an invitation to men and women, that he would not be liked? Expressions of his attitudes? The similar technique at the end? His change of heart and conversion and death?
6. The screenplay based on a play? The staging of the film? Theatrical language? Opened out?
7. The portrait of Rochester, his family background, the presence of his mother at his home, her trying to control him, intervening, at the end? His wife, loving her, not loving her? His treatment? The portrait sequence, his talking about the monkey, his insulting her and her walking out? Her decisions to leave him or not? His relationship with Charles II, the long exile, the reason for his being in favour in the early Restoration? His exile? Being brought back? The king liking him? The discussions, politics, the succession of James and the Parliamentary moves against this? The King commissioning a special project, philosophical? Rochester with his friends, George Etheridge, Sackville? Their talk, licentious, playing cards, the treatment of women, women as whores? Downs and his approach to Rochester? Rochester liking him, his becoming part of the coterie? The attack on him, the violence and his death? The world of the theatre? Jane and her life as a prostitute, her affection for Rochester, being with him, the discussions? The manager of the theatre? Mrs Barry, her being booed off the stage, his going to meet her, the talk, the offer for training her, the sequences of his directing her, her Ophelia on stage, the great success, applause? The relationship? The show, its lewdness, sexual overtones, insulting of the King? His leaving London, on the road, with his wife, with Allcock, Allcock as a servant and confidante, accepting him because he was cheeky? The performances in the country towns, disguised as a quack? His illness, being found by the King, going home, his dying? His putting on the mask, hobbling to the Parliament, the King’s reaction, his plea for the bill to be squashed? The success of the vote? His motivation? His finally dying, the religious overtones, the minister, his mother, the quotation from the Suffering Servant songs in Isaiah? His finale?
8. Charles II, the historical background, the death of his father, his exile, the Restoration, the 10 years of his reign, serious, his going to the theatre, his wanting the spectacular show, relying on Rochester? The French alliance? The performance, his disgust, the ambassador’s withdrawal and contempt for England? Confronting Rochester? Exiling him? The Parliament, Rochester’s speech, the King getting his way with the vote? Audience knowledge of the background of the King’s own life?
9. Mrs Barry, her performance, booed by the audience? Meeting with Rochester, her caution, her background and prostitution? The discussions with him, her terms? The sequences of training? Her success on stage, applause? The personal relationship with Rochester, the mutual love? The King asking her to spy on Rochester and his work, the gift of the jewel? The end of the King’s disgust with her?
10. Etheridge and the other men about town, rakes, chauvinists, attitudes towards women, interest in the theatre, their idle occupations? Etheridge as a playwright and his success? A play about Rochester and its performance?
11. The world of the theatre, the nature of the players, the lewd aspects, Restoration comedy, the manager and her intervention with Mrs Barry?
12. The audiences, the range of people, the reactions?
13. The picture of an era?
