King of Hollywood

Chapter 415: Chapter 137: In the End, We Must Face It

“Without a doubt, this is a masterpiece,” Anthony Minghella, in his third stint as director, showed his remarkable talent to the world. Although this film, adapted from Michael Ondaatje’s novel, deviates from the original, the core essence was firmly grasped by him. The exquisite composition and storyboarding rendered the scenes breathtakingly beautiful, and the brief yet intense romance between the male and female leads made people sigh. Anthony’s depiction was delicate and vivid, leaving an enduring impression.” — Vanity Fair

“The film fundamentally tells a love story, a love story set against the backdrop of war, and like all similar themes, this romance is intense and fleeting. What sets this story apart, however, is that it offers audiences a range of emotions: initially, you might disapprove of the infidelity of a married woman, then sympathize with the male lead, Omash, as he risks being branded a traitor to save his lover, and finally sigh at his confession as he lay dying. Anthony has given us an image that seems like it should be easy to define yet proves challenging to pinpoint, which is probably where the charm of this film lies.” — Hollywood Report

“Both lead actors, whether it be Ralph Fiennes as the gracefully aristocratic gentleman or Rachel Weisz as the pilot’s wife, perfectly captured the essence of their characters, from the initial subtlety to the passion expressed due to attraction to the poignant farewell at the end, all transformations conveyed their tumultuous yet fervent emotions. Sophie Marceau, though her role as the nurse was not large, played her intermediary part very well. I had previously criticized her for relying on a single expression in her acting, but I can perhaps temporarily retract that statement now.” — renowned film critic Roger Ebert

“The English Patient” didn’t fare well at the box office post-release, with Christmas just around the corner and the battle for audiences reaching its peak. Amidst the major productions released by various film studios, it only managed to earn 11 million US Dollars on its opening weekend, placing it not only at the bottom among the three movies released during the Christmas season but also quite behind other movies associated with Adrian.

However, the critical reception was surprisingly positive, and it must be acknowledged that Miramax exerted a great effort. Adrian had made it clear when giving them the distribution rights that the film was aiming for the Oscars, and with the agreement for their media outlets to cooperate as much as possible, the Weinstein brothers naturally pulled out all the stops to promote it.

But the high quality of the film itself was also a reason, just as Adrian had said, Minghella had poured all his talent into it, so that memory recalls that after “The English Patient,” he hasn’t produced another work with such critical acclaim. The actors also delivered noteworthy performances; Ralph Fiennes, needless to say, with his tender and affectionate demeanor in the film, made it impossible to connect him with the murderous villain from “Schindler’s List.” Although he appeared somewhat quiet and reserved off-screen, he was certainly dedicated and outstanding in front of the camera.

Rachel was equally outstanding; her very aura made her utterly suitable for such a role. Even though she was a pilot’s wife, her speech and scholarship differed little from that of a woman brimming with scholarly charm, or else she wouldn’t have attracted such a graceful aristocrat. They both, thanks to Adrian’s influence, turned to their acting craft, deeply embodying their characters.

As for Sophie, Roger Ebert had already mentioned her; although Hannah’s role was small, it was pivotal, acting as a bridge between segments. Her somber expression matched remarkably well with the backdrop of war, so Ebert’s remark came as no surprise—he had previously thought that Sophie relied solely on that melancholic, gentle visage for her acting. Even though in “The English Patient,” she continued thus, it blended seamlessly with the entire movie, providing a surprisingly refreshing effect.

“He can be quite sharp,” Adrian said the day after the premiere, holding a naked Sophie in his arms, reading the newspaper reviews in bed, and Sophie responded with a heavy humph.

After the premiere, even though he had a lengthy and enjoyable discussion with Rachel, Adrian still half-forced Sophie to slip away through the cinema’s side door; after all, unlike Rachel, who was completely under his control to be manipulated, Sophie needed a bit of stimulation before the screening and some coaxing afterward.