Generally, film adaptations of cult theatrical works are considered old-fashioned, majestic dramas with eloquent monologues that have been played out for generations, but anyone expecting something traditional was shocked to see Closer. 2004 drama from the legendary director Mike Nichols drew inspiration from Patrick Marberhit of the same name in 1997, in which some of Hollywood’s best actors spewed inflammatory, foul remarks that might even make Quentin Tarantino blush. This is an outrageous take on the notion of “intellectual society” and it certainly caught the attention of the tabloid press because of the extended episode in which Natalie Portman performs a striptease in a pink wig - now a cult cinematic image. Although Closer might be dismissed as nothing more than an exercise in pushing boundaries at a glance, it’s a satire that cuts much deeper.
What is “Closer” about?
The film is set in contemporary London. The film’s plot centers on romances, breakups, and romances between four people who are obsessed with controlling each other. Portman plays Alice Ayres, a young woman trying to find herself who is nearly killed in a street collision. Alice was saved by writer Dan Wolfe (Jude Law), who subsequently falls in love with her. After writing a book about their experiences together, Dan begins to lust after photographer Anna Cameron (Julia Roberts), who dismisses his flirting, which Alice overhears but does not argue with Dan. Dan continues to channel his desires by goading British dermatologist Larry Gray (Clive Owen) into a sexually charged online chat that embarrasses him in front of Anna. However, Larry and Anna begin to fall in love after realizing that they have been tricked.
Closer filled with cacophonous dialogue behind closed doors; since the film consists entirely of the conversations of these four actors, it reproduces the experience of watching a theatrical production. Typically, these restrictions may not be cinematic, but they are ideal for the concept, Closer is drawn. We learn what types of conversations people have in private and hear about the desires they are so afraid to admit in public. While this reveals the superficial nature of intellectuals, Closer reveals something deeper in the performative nature of contemporary relationships. Similar to his past films Graduate And carnal knowledgeNichols uses shocking stylistic excesses to show something very real. In many ways, Portman and her infamous wig are the sum of Closershine; humans have an aura of plasticity when forced to be vulnerable.
‘Closer’s takes away the romance of chance encounters
In fiction, “chance encounters” are often romantic in nature, so it’s funny that every chance encounter in Closer ultimately leading to heartbreak and tragedy. A reflection of human nature is that despite being given a once-in-a-lifetime romantic opportunity, Dan squanders his relationship with Alice. What Nichols does critically is refuse to judge any of these characters for their secret desires; none of them comes out as a complete victim, and there is reason to consider them all at the same time disgusting and tragic. Initially, we were supposed to dislike Dan because of his cheating and deceit, but at the end of the movie, we find out that Alice lied to Dan about her real identity. The irony is that despite Dan’s obsession with misleading people online, he doesn’t realize he’s fallen in love with someone he doesn’t really know.
Similarly, there is irony that Larry and Anna fall in love with each other after a cruel prank. However, this ironic “chance” is also quickly overlooked, as Larry can’t help but feed on his own pleasures when he recognizes Alice’s portrait in Anna’s photo gallery. Larry was always driven by his aggressive sexual impulses, which Dan initially took advantage of. He is well aware that Alice and Dan are connected to each other, but nevertheless pursues Alice. This is framed satirically along with Dan’s romance with Anna; now both couples are cheating on each other with partners of their opposite. It’s clever that these lewd talks are taking place in a fashion art exhibition designed to show the beauty of human nature.
We can’t help but empathize with the characters.
The “chance encounters” they all shared with each other only created obsessions and opened up new desires; they can’t help but wonder what it’s like to be with someone else. No one ends up getting both, and they are all ultimately heartbroken. What’s incredible is that even though Larry, Anna, Alice, and Dan undermine each other, there’s a reason to put money into each of them. Alice tries to succeed in a society to which she does not belong; Dan is trying to create something artistically deep; Anna wants commitment, but can’t help but cheat; Larry is obsessed with “winning” because he is afraid to show cracks in his manhood. None of them can not be who they are.
Even though they all suffer due to their obsession with each other, they all end up alone due to further ironies. Anna and Larry vowed to sleep with each other one last time to get revenge on their partners, but they were fully aware that in the end they would just hurt each other. Of course, the romance rekindles their desire for each other, continuing their loveless marriage. Alice has gained nothing from her encounters with high society and is left drifting around New York alone in the same state she was in at the beginning. Because Dan never knew Alice’s real name, he has no way of finding her. He notices a monument to the woman Alice stole her name from; he fell in love and was left mourning for someone who doesn’t exist.
By ending the film on such a solemn note, Nichols closes the circle of his criticism. He wanted to show us who these people really are, and in the end it’s our fault that we sympathize with them. If Nichols is hunting for the idea that we’re starting to see what people are like, we can only laugh derisively at them for a short amount of time. How beautiful words Damien Rice”The Blower’s Daughter” in the background, as if we’re now guilty of having the same obsessions.
Source: Collider
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