Closer

CLOSER
COLUMBIA TRISTAR
RELEASED 14 January 2005
What’s so great about the truth? The truth hurts people, try lying for a change. It’s the currency of the world.’
Those lines from ‘Closer’ capture in a nutshell the theme that runs through the heart of this scathing take on modern relationships.
Obituaries writer Dan (Jude Law) meets Alice (Natalie Portman) in most unusual circumstances, and they later meet both photographer Anna (Julia Roberts) and her boyfriend doctor Larry (Clive Owen) through Dan’s work. All reveal secrets during the next four years, and only one character really comes out unaffected.
The theatrical production of ‘Closer’ originally opened in May 1997 at the Royal National Theatre’s Cottesloe Theatre, later the same year transferring to the National’s Lyttelton Theatre and eventually going to the West End and Broadway, as well as fifty other countries. Awards include the 1997 Evening Standard ‘Best Comedy Award’, the 1997 Critics’ Circle ‘Best Play Award’ and the 1998 Olivier Award for ‘Best New Play.’ Frequently compared to Noel Coward’s ‘Private Lives’, writer Patrick Marber’s play is set in nineties London, concerning four strangers who meet and fall in love. It’s fair to say it’s one of biggest stage successes of the last twenty years, and also one that divides opinion quite sharply.
This movie adaptation is written once again by Patrick Marber, differing very little from the original (apart from one character no longer meeting their maker at the end). The themes and the shockingly frank dialogue are all still present, acted out by a cast on top of their game. Pick of the bunch probably has to be Natalie Portman, who is proving herself this year to be one of Hollywood’s best actresses, something that was hoped for since her debut in 1994’s classic ‘Leon’, where she played the hitman’s 13 year-old muse. Her delivery of the sometimes mannered dialogue is the most natural and sympathetic, her character also being the closest the audience has to empathise with.
While I’m still trying to put out of my mind the awful mess that was ‘King Arthur’, it was never in any doubt that Clive Owen would once again move onto better roles. Known as the ‘Croupier’ and the forever-mentioned ‘perfect’ James Bond, Owen plays the bullying dermatologist whose cowardice is forever hidden by spite and malice. His testosterone oozes off of the screen and it’s a strong performance.
The last two parts are played by Jude Law and Julia Roberts. Law plays a cocky but insecure writer (aren’t we all!) who seems to want it all, and he plays that cocky ‘Alfie’ type with a sad underbelly who never appreciates what he has until it’s too late. He acts well, easily his best role of the year, and it would be nice to think he’ll choose more material like this in future rather than trash like ‘Alfie’.
As for Julia Roberts, this is probably the best serious role she’s ever had, and you never think of her as the big movie star. Her character is a bit like Law’s, in that she wants it all, and feels a bit sorry for herself when things go wrong. She also gets the best comedy moments, which occur in the first half of the film.
‘Closer’ definitely doesn’t end how you might think it will, considering the relatively romantic and upbeat nature of the beginning. It’s a very dark look into the romantic soul, and what’s found there seems to be those little green monsters we all hope to never see again. Time passes unannounced, so characters might begin a new scene four months later and the situation has taken an unexpected and unseen turn. As a viewer, you’re also not sure whether you’ve missed some important fact, until the plot surprises you! One character isn’t even who they say they are. These relationships also have clearly defined beginnings and endings, ‘Closer’ being a very compact and final movie.
It’s not all doom and gloom though, with some very fine comedy and laugh-out-loud moments, especially an internet chat room sequence involving the two male leads. The comedy gives way to serious drama about halfway through.
The dialogue can be natural and yet jarring within the same scene, something which I imagine has been pared down slightly by Marber from the stage version. What isn’t in question is the beauty of the language, even when it involves harsh criticism and obscenity. This is a script that cuts to the bone. It asks questions about how close we can ever really be to somebody, and how well can we know them. ‘Closer’ may be uncomfortable viewing for some.
FOUR OUT OF FIVE