Johnny Simmons

Sometimes – often I should say – I doubt my credibility when it comes to making these best of lists. Yeah, yeah it’s all subjective and whatnot but some actors just work for me more than others but then again maybe I’m just being paranoid. The whole point of making this list is to highlight those performances that have impressed me the most, so it would be remiss of me not to have this on the list...even if no one agrees.

             
#8 Jude Law in Closer (2004)

Not to regress, but when I spoke about The Messenger (one of my favourite films last year) I remarked that I couldn’t quite understand who all the critics could remember Harrelson’s (admittedly good) performance and ignore Foster’s brilliant one. It’s one of the many things I don’t understand about awards. You can’t notice one good thing about a film while being oblivious to the rest. The same thing happened in 2004. Natalie Portman and Clive Owen picked up accolades left and right for their performances in Closer but Julia Roberts and Jude Law earned few. The thing is, I was particularly angry since Jude’s Dan continually emerges as the best performance of the film for me and nothing short of excellent.

Jude Law’s most memorable performance is probably The Talented Mr. Ripley and Dan is different and yet similar to Dickie, though the two do have the same face. Dan is a struggling writer slumming it as an obituary writer at a newspaper. He meets the irrepressible Alice and after a traffic accident he takes her to the hospital. Closer is a play, and though it’s no Who’s Afraid of Virginia Woolf (another Nichols’ piece) it depends on its dialogue, and Jude sells it. His first conversation with Portman in the hospital is perfectly executed and it’s nice to see him turn on his charm (albeit a boorish one) for her. There’s a hint of slyness about him and you notice his eyes seem to be taking in more than just the obvious, but he’s not suave. I remember the scene where Portman tells him she was a stripper, his knee-jerk response as his eyes widen is perfect. But like all the characters in Closer Jude is no angel.

As we flash forward to his first meeting with Julia I wonder why he’s less nervous now. Is it Alice? His novel? But there is a pep in his step now and he flirts with Anna his charm is undeniable. As cute as he and Natalie look together I remain convinced by the relationship between he and Julia here, even before it begins. The two work brilliantly together, and as they drift into their banter it’s a delight to watch. It’s obvious what’s coming next, or is it? I, surely, wasn’t expecting Dan’s chat-room liaison with Larry. But it’s the appearance at the Julia’s party where Jude has another brilliant moment. Most recall Portman and Owen’s scene but it’s the adjacent scene between Roberts and Law that impresses me. The attraction between the two is palpable and the resulting confession Dan gives to Alice is no surprise. It’s memorable as being Portman’s moment but the sincerity of Jude here is worth remembering. “I want someone who doesn’t need me” is what he tells her. Dan is selfish, perhaps the most selfish of the story, but Jude is careful not to make him unredeemable and that’s an important quality of his because even though he’s the most selfish he’s also the most sympathetic.

His final scene with Julia always saddens me a little. It’s the lone moment of happiness the two share, and they’re soooo comfortable together it’s a pity they couldn’t remain thus. That solitary moment in the bathroom when he realises what has happened is superb. It’s a talent Jude has of showing his emotions with the slightest movement. If I have to single out a moment it’s his breakdown to Clive Owen. It’s pathetic and shameful and Jude sells it completely. It’s difficult not to pity this poor fool – and it’s really downhill from there, relationship-wise. The romance with Portman isn’t as authentic anymore and that defining moment (the “slap”) is unfortunate. I know that many feel Dan gets what he deserves but as Julia and Clive return to each other and Natalie returns to herself I feel badly for Dan as he remains there and learns in the most pitiable of ways who Alice Ayres really was. It’s right, I guess, that the last moment of him features him using his excellent facial expressions again.

Duplicity is the sophomore effort from Tony Gilroy, the director and writer of the successful Oscar nominated Michael Clayton. Before I continue, I will say that Duplicity suffered from bad advertising. From the previews and the trailers Duplicity seemed to be a romantic comedy with some smartness, but it actually was a smart movie with a little comedy. I’m sure many women [and men] left the theatres just a little chagrined For the record, I did not like Michael Clayton very much. I think I rated it somewhere in the low Bs, but I did not understand why all the critics were going absolutely gaga over it. But as usual I am digressing. Back to Duplicity, or Closer II, as some would like to call it.

Duplicity is an interesting movie, to say the least. If I were to give a synopsis of it it would probably read similar to Prizzi’s Honor, or Mr & Mrs Smith, but it’s not a remake or a reinterpretation of either film. It tells the story of two persons Ray and Claire– spies we’ll call them. The meet at a Fourth of July party, he hits on her, she is not amused...or is she? They have sex, nothing groundbreaking. She leaves before he wakes, just after she searches his hotel room.

Not to be hard on the movie, because I like it, but there are times when it’s trying way too hard. This happens a lot during the middle of the movie. Gilroy throws in twist after twist and it’s almost as if he’s just trying to hoodwink us, just for the sake of having a big surprise. I would hope that you’ve seen Duplicity by now, but in case you haven’t I won’t include any spoilers. Anyhow, after trick after trick Julia and Clive finally come to their conclusion both professionally and personally.

I enjoyed Duplicity. I felt that the second half was very much better than the first. Gilroy tried to pack us too full of information in the first half so that we’re unable to relax, but as it winds down and less information becomes pertinent the audience manages to have some. As with any film of this nature the strength often lies in the script. The script for Duplicity is quite good, and generally I think it supersedes Michael Clayton in its fluidity. The one liners that they provide the cast [especially Julia Roberts] with are priceless. Speaking of Julia Roberts it’s nice seeing her back in comedy. This will always be her forte, so to speak. Even though Erin Brockovich was not exactly a comedy it had that same drollness of Duplicity which Julia always excels at...and what’s more she is still gorgeous doing it. Clive Owen is a good match for her. Although sometimes you feel she’s leading him the tables turn and we realise that he plays the game quietly and she’s more aggressive. It’s good stuff.

The supporting cast do not get the opportunity to shine as much but I will say that I was impressed with Kathleen Chalfant who plays an older spy who knows a lot more than she lets on. Duplicity is a good film, ignore the crazy IMDB subscribers labelling it as one of the worst of all times. Pure nonsense. Sometimes it can be a little smug, but it's still well worth your times. It's out on DVD by now in many countries so if you like comedy with action and a little romance, this is for you.