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PERFUME -
2006
Constantin Film Produktion / VIP 4 Medienfonds / Nouvelles Éditions de Films (NEF) / Castelao Producciones / Davis-Films / Ikiru Films / Rising Star
Rated: Argentina, Brazil: 16 / Australia: MA / Czech Republic, Germany, Netherlands: 12 / Finland: K-15 / Hong Kong: IIB / Ireland: 15A / Japan: PG-12 / Malaysia: 18PL / Peru, Spain:18 / Philippines:R-18 / Portugal: M/16 / Singapore: R21 / South Korea, Sweden: 15 / Switzerland: 14 / UK: 15 / USA: R |
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This is a fairy tale about a murderer - intent on making the most amazing perfume ever created. Once upon a time (in the 1700s), a boy was born with a superior sense of smell. His name was Jean-Baptiste, (Ben Wishaw - ENDURING LOVE), and his whole world revolved around scents. With every breath, he categorized each individual odor, tracking even the faintest with a nose more attuned than a bloodhound’s.
His love-affair with smell leads him to the world of perfumeries, and a quest - to make the perfect perfume. The secret ingredient - essence taken from the bodies of 12 beautiful young ladies.
Ben Wishaw didn’t speak much, but I always understood what he was thought and felt. Sometimes the narrator (John Hurt: ALIEN, HARRY POTTER AND THE SORCERER'S STONE, HELLBOY [all] THE SKELETON KEY, V FOR VENDETTA) shared Jean-Baptiste’s discoveries, but it never seemed intrusive or a repetitive rendering of something I already knew. John Hurts’s narration beautifully pulled the scenes forward, lead us smoothly, and enticingly along, in harmony with the beautiful cinematography of Frank Griebe (RUN LOLA RUN), and Tom Tykwer's music. Deeper into the characters, and murderous chaos, as drop by drop, Jean-Baptiste nears his goal.
Karoline Herfurth, was the Plum Girl, and victim of Jean-Baptiste’s first kill. She was also his introduction to the scent of a young, beautiful woman - his first scented infatuation.
Dustin Hoffman (SPHERE) is Guiseppe Baldini, who teaches Jean-Baptiste the art of perfumery. Jean-Baptiste’s skillful nose gives Guiseppe’s own fading skills, and shop, new life. Dustin thoroughly displays the complexity of a has-been who can’t help but be awed and jealous of his protégé’s skills.
Richis (Alan Rickman: DOGMA, HARRY POTTER [all]) is a wealthy widower who understands that his true treasure is his beautiful daughter, Laura (Rachel Hurd-Wood - AN AMERICAN HAUNTING), and will do absolutely anything to protect her from the mysterious, unstoppable murderer. Laura has the most intoxicating scent Jean-Baptiste has ever inhaled, and his perfume will not be complete without it. I was pleased to discover I was both rooting for him to kill the ultimate beauty, yet hoping he wouldn’t. Helplessly ensnared by the film, all I could do was sit back and let the tale unfold.
PERFUME was adapted from Patrick Suskind’s book by Andrew Birkin (OMEN III: THE FINAL CONFLICT), Bernd Eichinger (RESIDENT EVIL [all]), and Tom Tykwer (DEADLY MARIA). Tom was not only one of the writers, but also the director and composer for this film. This isn’t his first triple play. He did the same for other films, including The Princess and the Warrior.
I felt like I was floating down a smooth river, swept away by the story, artfully edited together by Alexander Berner (ALIEN VS. PREDATOR, RESIDENT EVIL). The images dropped me into the 1700’s, thanks to detailed research and skill from production designer Uli Hanisch (DAS DEUTSCHE KETTENSAGEN MASSAKER), art direction by Laia Colet, and set decoration in exquisite detail by Philippe Turlure (THE NINTH GATE). Sounds and FX (thanks to the troop of hard working crew), blended and brought out elements that were, like everything else, a seamless part of the whole film.
The costumes designed by Pierr-Tyves Gayraud (BELPHEGOR: LE FANTOME DU LOUVRE, THE BOURNE IDENTITY) blended into the color scheme, while perfectly, admirably leaving no question as to the rank and role of every character.
Yet even if the performers were merely dressed, made up, and placed in the 1700’s sets, the film wouldn’t have worked. Each actor played their distinct and vibrant role, leaving no doubt as to their emotions and thoughts (mostly conveyed without dialogue). Such was the communication of their intent, that I wasn’t ever confused, or bored.
The film contains at least as many odors as characters. How would you cinematically demonstrate scent? Most often, an odor is rendered in CGI as a smoky vapor. To my delight, the odors remained invisible. Even so, I could almost see the smells flowing from object to nose with each inhalation.
PERFUME seduces and sucks you in. Special Bonus: An unpredictable, fascinating ending.
5 Shriek Girls
This review
copyright 2008 E.C.McMullen Jr.
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