Running time: 93 minutes
Starring: Ian McKellen, Deborah Unger, Theo Crane, Tygh Runyan, Chris Willaim Martin
Rating 6 out of 10
Audiences expecting another blockbuster performance from Ian McKellen will be disappointed by his role in Emile. This quiet, introspective film couldn't be further from the X-Men or Lord of the Rings series, and certainly there is no hint of Magneto or Gandalf in his role here. This a is return to the McKellen we knew before he started building his pension fund in Hollywood - proper acting as some of his repertory buddies would no doubt call it.
Canadian director Carl Bessai's third film continues the theme of characters searching for their identities that he explored in his previous works Johnny and Lola. McKellen plays the title role, an ageing professor who makes the journey from his home in England to receive an honorary degree from a Canadian university. But there is a subtext to Emile's journey, as he is intent on catching up with the remaining members of his family, as he himself was born in Canada.
The sole survivors are Nadia (Deborah Unger) and her daughter Maria (Theo Crane). Nadia is the daughter of Emile's brother, and while she welcomes him into her house to stay, there is a definite air of hostility about her. Through the use of flashbacks we learn the back story of Emile's younger existence, in a family rife with conflict, and the reason for Nadia's bitter feelings towards Emile soon becomes apparent. In an effort to make amends, Emile decides to befriend the young girl and despite reluctance on her part, a bond soon develops between the two.
This is a sombre film which takes it time, and asks several questions about our own feelings of self-identity, notably in relation to the family unit. Emile shunned close members of his family when they needed his help and the film posits the question of whether or not it is ever too late to make up for mistakes in early life.
As the eponymous character, McKellen is a joy to watch. The air of the absent-minded professor is apparent, and his uncomfortable arrival at Nadia's house is nicely played out between himself and Unger, who has made something of a career for herself in recent years in smaller independent films after her mainstream successes in 90s movies such as Payback and The Game. Mention should also be made of the young Theo Crane who more than holds her own against the wonderfully talented Knight.
This is thinking person's cinema, with ideas that are universal. It probably won't trouble the multiplexes for too long, but for those seeking an intelligent and thought-provoking night out, it fits the bill perfectly.
Canadian director Carl Bessai's third film continues the theme of characters searching for their identities that he explored in his previous works Johnny and Lola. McKellen plays the title role, an ageing professor who makes the journey from his home in England to receive an honorary degree from a Canadian university. But there is a subtext to Emile's journey, as he is intent on catching up with the remaining members of his family, as he himself was born in Canada.
The sole survivors are Nadia (Deborah Unger) and her daughter Maria (Theo Crane). Nadia is the daughter of Emile's brother, and while she welcomes him into her house to stay, there is a definite air of hostility about her. Through the use of flashbacks we learn the back story of Emile's younger existence, in a family rife with conflict, and the reason for Nadia's bitter feelings towards Emile soon becomes apparent. In an effort to make amends, Emile decides to befriend the young girl and despite reluctance on her part, a bond soon develops between the two.
This is a sombre film which takes it time, and asks several questions about our own feelings of self-identity, notably in relation to the family unit. Emile shunned close members of his family when they needed his help and the film posits the question of whether or not it is ever too late to make up for mistakes in early life.
As the eponymous character, McKellen is a joy to watch. The air of the absent-minded professor is apparent, and his uncomfortable arrival at Nadia's house is nicely played out between himself and Unger, who has made something of a career for herself in recent years in smaller independent films after her mainstream successes in 90s movies such as Payback and The Game. Mention should also be made of the young Theo Crane who more than holds her own against the wonderfully talented Knight.
This is thinking person's cinema, with ideas that are universal. It probably won't trouble the multiplexes for too long, but for those seeking an intelligent and thought-provoking night out, it fits the bill perfectly.
