No sparks ignited by 'Firelight' despite Marceau's presence
No sparks ignited by 'Firelight' despite Marceau's presence
JAKARTA (JP): Beauty is only skin deep... but oh how
beautiful some of that skin is!
Sophie Marceau ranks right up there with the likes of Bridget
Bardot, Catherine Deneauve and Isabelle Adjani as one of the most
beautiful French actresses to grace the silver screen.
Her sensuous presence is enough to keep fans glued to their
seats for any film she appears in.
Unfortunately, most of her English film performances still
pale in comparison with those of her compatriots.
She became an international household name in Mel Gibson's
Braveheart. But there it was her ability to ignite the screen
with her brief presence, rather than any serious dramatic
performance, which caught the eye.
In Firelight, even 90-minutes of Marceau's alluring beauty
cannot salvage this mid-1800s period piece as one gigantic yawn.
Sure, most guys will still skip a couple of heartbeats with
every closeup, but it is no heart stopper.
The story is a combination of a Charlotte Bronte-Jane Austen-
Harlequin romance.
Under family pressure, British aristocrat Charles (Stephen
Dillane), needs an heir to carry on the encrusted family name.
The only problem is his wife is severely ill and cannot bear
him a child.
So what does he do? Offer 5,000 pounds to anyone willing to be
a surrogate mother.
Along comes Elisabeth (Marceau), who applies for the
"honorable" task in order to payoff her father's debts.
Who could refuse?! Elisabeth and Charles depart for three days
to an isolated location to fulfill the contract.
Remember this is the mid-19th Century; there's no such thing
as artificial insemination, so the couple have to do it the old
fashioned way.
William Nicholson, in his directing debut, tries to ensure
that those who only come to see Marceau get their money's worth,
with a love scene illuminating by a flickering fire and much
tossing and turning.
The lovemaking is neither memorable nor does it reach feverish
heights. In her French film repertoire, Marceau has performed
much more risqu scenes.
Not surprisingly after two nights Charles is reluctant to
leave Elizabeth. But the two decide that they will honor their
contract and part ways.
Nine months later, Elisabeth gives up her baby girl promising
not to interfere in the child's life.
Of course Elisabeth does come back to haunt Charles and see
her child.
She inveigles her way into the aristocratic life by applying
for a post as the child's governess. When she finally meets her
daughter, she is aghast to find the seven-year-old Louisa
(Dominique Belcourt) a spoiled brat.
While the new governess proceeds to sort out her recalcitrant
daughter, she avoids Charles' seductive glances.
Nothing in this film will excite audiences, not even the love
scenes.
"Did you enjoy it?" Charles asks Elisabeth after their first
coupling. "No," she replies.
Both Marceau and Dillane are unanimated in their roles.
Marceau is her usually brooding self, failing to smile throughout
the whole movie.
Viewers will likely sympathize with Charles, who honorably
fights to curtail his desire for Elisabeth and remain faithful to
his mute bed-stricken wife.
We can sympathize with his woes. Who can blame him with
someone like Sophie Marceau floating about the place and the
competition of other men in the film, also falling over
themselves to woo her?
Overall this film could use a little bit more wood before it
lights a fire in anyone's memory. (mds)