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Possession (2002)
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Reviews Counted:32
Fresh:16
Rotten:16
Average Rating:5.8/10
Consensus: Based on Byatt's novel of the same name, Possession is a lovely, literate romance.
Rated: PG-13 [See Full Rating] for sexuality and some thematic elements
Runtime: 1 hr 43 mins
Genre: Dramas
Theatrical Release:Aug 16, 2002 Wide
Box Office: $10,058,448
Synopsis: Set in both contemporary and Victorian England, POSSESSION, directed by Neil LaBute, is based on the novel by A.S. Byatt. The tale begins with Roland Michell (Aaron Eckhart), a laid-back American... Set in both contemporary and Victorian England, POSSESSION, directed by Neil LaBute, is based on the novel by A.S. Byatt. The tale begins with Roland Michell (Aaron Eckhart), a laid-back American studying the renowned Victorian poet Randolph Henry Ash (Jeremy Northam) on a fellowship. When Roland discovers what may be a love letter from Ash, a supposedly devoted husband, to the reclusive poet Christabel LaMotte (Jennifer Ehle), he recognizes that he's on to a big literary discovery. Enlisting the help of skeptical British academic Maud Bailey (Gwyneth Paltrow), Roland embarks on journey to discover more about the link between the two revered poets. As Roland and Maud track Ash and LaMotte's elusive romance across the British countryside, the two scholars begin a relationship of their own. Although this film presents a kinder, gentler LaBute--who is known for emotionally caustic movies such as IN THE COMPANY OF MEN and YOUR FRIENDS AND NEIGHBORS--POSSESSION still focuses on the relationships between men and women with skillful attention. Paltrow reprises her convincing British accent from films such as SHAKESPEARE IN LOVE and SLIDING DOORS, while Northam and Ehle lend gravity to their Victorian characters. However, it's Eckhart, a longtime LaBute collaborator, who proves to be the film's heart and soul; his relaxed yet complex personality grounds both the movie and its two intertwined stories. As the two tales progress, the relationships between the characters wax and wane, leading to an ending with a surprising twist. [More]
Starring: Gwyneth Paltrow, Aaron Eckhart, Jeremy Northam, Jennifer Ehle
Starring: Gwyneth Paltrow, Aaron Eckhart, Jeremy Northam, Jennifer Ehle, Tom Hollander, Toby Stephens, Lena Headey
Director: Neil LaBute, Barry Levinson
Director: Neil LaBute
Screenwriter: Laura Jones, Neil LaBute, David Henry Hwang
Producer: Paula Weinstein
Director: Barry Levinson
Producer: David Barron, Len Amato
Studio: USA Films
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Reviews for Possession
For a movie that purports to be about the passions of love and language, Possession is remarkably prim.
Just about everything in this dry bit of business seems limp, building toward a poorly staged scene in a graveyard, which could be just where this slumbering bit of folly will land.
What's supposed to be a deep examination of the transcendence of love and art and poetry turns into another shallow film about how repressed the British are.
It may be faint praise, but praise nonetheless, to say that LaBute (and co-writers Laura Jones and David Henry Hwang) have done the best they can with A.S. Byatt's Booker-winning 1990 novel.
It's potentially exciting material, but what we see onscreen is somewhat less than that.
Straightforward and old-fashioned in the best possible senses of both those words, Possession is a movie that puts itself squarely in the service of the lovers who inhabit it.
One of those movies adapted from a beloved novel whose fans can't believe it's been brought to the screen. They turn out to be right.
A lush, genteel romance of the Merchant-Ivory school that qualifies as a guilty pleasure.
Ultimately, the film never recovers from the clumsy cliché of the ugly American abroad, and the too-frosty exterior Ms. Paltrow employs to authenticate her British persona is another liability.
Compelling material, especially for those who believe that the lives and loves of the dead can impact the trajectory of the existences of the living.
Split between two periods -- modern-day England and the England of a century ago -- the movie has little time to breathe emotional life into either world.
Some books just aren't meant to be movies, and Possession is surely one of them.
Catch your breath, kindred spirits: Possession is the most romantic movie to come our way since The English Patient.
It's sexy to observe two couples who think and debate their connections, who quote poetry to each other, who consciously try to enhance their relationships by seeking metaphors and symbols they can attach to.
If you're expecting Linda Blair's head to spin around at some point, you might want to skip it.
Possession is in the end an honorable, interesting failure. It falls far short of poetry, but it's not bad prose.
On its own cinematic terms, it successfully showcases the passions of both the director and novelist Byatt.
LaBute can't avoid a fatal mistake in the modern era: He's changed the male academic from a lower-class Brit to an American, a choice that upsets the novel's exquisite balance and shreds the fabric of the film.
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