Gosford Park (2001)
★★★★ / ★★★★
A British wealthy couple, William (Michael Gambon) and Sylvia McCordle (Kristin Scott Thomas), invited their friends to their estate for a bit of hunting. Set in the early 1930s, their guests took their maids and valets along; the guests lived upstairs while the helpers lived downstairs. None of them saw what was coming: one of them was about to be murdered… twice. Written by Julian Fellows and directed by Robert Altman, “Gosford Park” was a sharp observation of the British class system and a wonderful murder mystery. The majority of the comedy was embedded in the dialogue, from the juicy gossip among the staff to the vitriolic remarks among the socialites, the material made fun of everybody. The enmity and jealously seemed to penetrate the walls. I particularly enjoyed listening to Constance Trentham (Maggie Smith) speak her mind and watching her maid, Mary Maceachran (Kelly Macdonald), solve the murder mystery. Constance was was one of the most vile of the socialites. She was an interesting specimen because, despite being an aging woman, she essentially acted like a child. She craved attention, positive and negative, and she saw self-reliance as a sign of weakness. Her philosophy was why rely on yourself if you have the money–or a maid–to do everything for you? As much as I disliked her, I could easily imagine people like her especially given the setting of the story. Mary, on the other hand, was an unlikely heroine: she was soft-spoken, she tried her best to mind her own business, and she was actually willing to listen. I think the reason why she was the one to solve the mystery was because she was able to take the back seat, select which conversations held meaning, and ask the right questions. She was a good detective. I also enjoyed watching Henry Denton (Ryan Phillippe), a Scottish man with a questionable accent, and his homosexual boss, Morris Weissman (Bob Balaban), a movie producer in Hollywood. Their relationship was one of the many subtleties worth noting upon multiple viewings. I admired the film’s cinematography. Despite being shot inside for the majority of the time, it looked bright. The grand paintings on the walls caught my attention as well as the utensils on the dinner table. Most impressive was in the way the camera slithered from one conversation to another. There was a natural flow to it. It always felt as though the camera did the walking for us, sometimes over the shoulder, other times from afar, without bouncing about. When the picture did make rapid cuts, it only served to highlight the parallels of the conversations between the rich and the poor. Both viewed each other’s roles as easy when, in reality, nobody was really happy with what they had. Despite the comedy and the mystery, there was sadness in it, too. “Gosford Park” remained focused despite having over a dozen interesting characters. More importantly, Altman found a way to comment on the symbiotic relationship between master and servant without getting in the way of the mystery.