What emerges from the bilious murk of first-time director Laurence Dunmore's film is a sad picture of an intelligent and talented writer who opted for self-indulgence and gratuitous insult over anything more meaningful.
The Libertine (2005)
Tomatometer
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Reviews Counted:29
Fresh:7
Rotten:22
Average Rating:4.6/10
Consensus: A confusing, monotonous, unattractive drama, Libertine mires its talented cast in a squalid, self-indulgent mess.
Runtime: 1 hr 54 mins
Genre: Dramas
Theatrical Release:Nov 25, 2005 Limited
Box Office: $4,756,532
Synopsis: An antidote to the sunny period pieces adopted from Jane Austen, which feature impeccably coiffed aristocracy engage in the witty banter of drawing room dramas and culminate in a most delightful... An antidote to the sunny period pieces adopted from Jane Austen, which feature impeccably coiffed aristocracy engage in the witty banter of drawing room dramas and culminate in a most delightful denouement, THE LIBERTINE highlights the underbelly of the Britocracy of centuries past. Adapted from the play by Stephen Jeffreys, the plot follows the dastardly debauchery of the Earl of Rochester (a mischievous Johnny Depp). A hedonist who makes Oscar Wilde seem moralistic, the Earl spent his days and nights in beds, brothels, and bars, awakening from drunken blackouts only to stumble to the nearest whorehouse. Yet this ravishing rake was also possessed of a predilection for poetry, and turned his escapades into acid-tongued witticisms that pepper this frisky film. Directed by first-timer Laurence Dunmore, the historical film picks up in 1678, when the Earl returns to London at the behest of King Charles II (magnetically played by John Malkovich, who starred in the play when it was staged at Chicago's Steppenwolf Theatre). With his young wife in tow, our rake immediately immerses himself into a litany of transgressions. When he meets a prostitute and burgeoning actress named Elizabeth Barry (Samantha Morton), he obsessively takes her under his wing, crafting her into an acclaimed stage starlet and eventually bedding her. What follows is a spiral--upward, downward, and sideways--through the city's pleasure palaces, culminating in a quasi-tragic, quasi-relieving denouement. Melding the naughty energy of his PIRATES OF THE CARIBBEAN character with the brooding darkness of his wearied detective in FROM HELL, Depp gives a pitch-perfect performance that carries the film, eliciting strange sympathy for such a despicable devil. The score, by the award-winning composer Michael Nyman, adds even further moodiness and dramatic edge to the story. [More]
Starring: Johnny Depp, Samantha Morton, John Malkovich, Stanley Townsend
Starring: Johnny Depp, Samantha Morton, John Malkovich, Stanley Townsend, Francesca Annis, Rosamund Pike, Johnny Vegas, Richard Coyle
Director: Laurence Dunmore
Director: Laurence Dunmore
Screenwriter: Stephen Jeffreys
Studio: Weinstein Company
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Reviews for The Libertine
The point seems to be that too much of a good thing leads to a vast sense of nothingness and bleak cinematography. Alas, it also results in transforming a film about a sensualist into a remarkably sexless enterprise.
A movie that serves up what its debauched subject would never have countenanced -- sanitized smut with a moral attached.
Dunmore slogs through the story with an overripe sense of gravity that, when mixed with the film's carefully botched look, makes for one murky moviegoing experience.
Without context and reason to care, I never understood why I was lurking about here the first place.
Rochester may have been a cultural visionary, but the movie reduces this notion to a parable of bad-boy celebrity hitched to an uninteresting love story.
It's a bit too muddy, dismal-looking and smoky to beguile us, too fixated on filth and too dreary-looking to really shock us.
Stinkers this rapturously self-assured don't come along often, and when they do, they deserve to be honored with the proper giggling disbelief.
Depp portrays Wilmot, who was also remembered for scandalous poetry and theatrical satire, as a careless and generally unpleasant fellow, who is neither funny nor profound. And we're supposed to spend two hours with this guy. Ugh.
It is Depp, as the debauched and decaying Restoration rake, who holds the camera. It's a strong, sturdy performance, but one that asks more of the audience than it might be possible to give.
One of the few films to maintain an air of stuffiness even while sharing intimate details of debauchery.
We are supposed to thrill to the devil-may-care attitude of this Byronic rebel-gent, yet we never find out what he's about or what he stands for. He's a self-impressed question mark.
You will not like the Second Earl of Rochester. But you will not be able to take your eyes from him. Having made his bed, he does not hesitate to sleep in it.
Depp opens the movie by looking into the camera and announcing, You will not like me now, and you will like me even less as we go on. That turns out to be true.
The scenes between Depp and Morton throw off sparks, but the movie as a whole needs focus, oomph.
This has got be one of the least erotic and grungiest films about hedonism ever made.
This film isn't pretty, but it has some kick: It is to Shakespeare in Love what wild pheasant is to Chicken McNuggets.
... more of a gothic horror movie than an arresting biographical drama.
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November 11, 2005:
Trailer Bulletin: The Libertine
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