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Everybody Knows

11 Mar

Everybody Knows—directed by Asghar Farhadi. Whodunit. 2 hours 21 minutes Color 2019

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The Story: a big family gathers for a fine wedding, when a crime occurs that snares everybody in its net.
~
What great big loud fun Spanish nuptials!

It goes on for a time. All our characters are established and aren’t they great! You think you’re in a film by Jean Renoir!

Then the crime occurs.

What happens then is the film goes on for 2 hours and 21 minutes as the rug is pulled out from under our interest. and our loyalty to it. And how does that come about? How does the author and director manage to go about disengaging us from film, crime, characters, all?

He does it by not know when to shut up. He wrote what he directed—always a dangerous duet. The director falls in love with everything he wrote and the writer falls in love with everything he directed, and the audience is left with nothing whatsoever to fall in love with. Every variation on his themes is included, written to the maximum of histrionics and, because he is the director, the actors must perform that way.

Here we have the beauteous Penelope Cruz who brings to the screen once again the fulness of heart, body, and talent Sophia Loren used to please us with. She is the mother of two children, a boy of eight and a girl of seventeen. The wedding is attended by her former childhood beau, played by Javier Bardem, who never fails to intrigue. They and everyone else are perfectly cast.

One problem arises with the title of the movie: everybody knows what?

Well, there is only one thing to know: the father of Cruz’s daughter. And, since there is only one thing to know we all know that it must be Bardem. So we know from the start what we shouldn’t. And knowing it pollutes our suspense.

Trouble is you always suppose he knows it, too, for when the crime befalls, he alone behaves like father.

But does his character know he’s the father? No, he does not! We must be wrung with impatience to witness as he is wrung to witness what every character and every audience member watching knows from the start.

Oh, dear, I’m coming close to falling into the same trap the director fell into—the plot! I’ll never extricate myself if I write another paragraph.

Well, one more paragraph. It’s beautifully shot. And Bardem and Cruz are wonderful. So if you enjoy seeing them play in high style, see Everybody Knows. If not, wait until Bardem shaves his beard and he and his wife find better work together. For in my heart, where they do belong is where they and my heart deserve better. Still, to watch them here, critical acumen relinquishes itself into the comforting certainty of their gifts, for they represent an order of talent of such inevitability that, even if one had a wish to, it is virtually impossible to analyze it. So, if you go and when you go, tell me I’m not wrong.

 
 
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