The Libertine

Looking at The Libertine (2004), I think if gauged as a Johnny Depp vehicle, it succeeds. He’s genuinely compelling and charismatic. He holds your attention and your eyes never leave his sight. I think he has that gift of stardom few truly are blessed with. It isn’t just his looks. He has star wattage underneath pirate make-up, dressed as a vampire, or creepy man-child in Wonka Land; Depp, despite a film’s often problems and setbacks, seems to thrive regardless. I think, while the 17^th Century Earl of Rochester is recognized as a brilliant poet, Depp’s presence as John Wilmot makes him perhaps a great deal more interesting and fascinating than he may have been in life. Even when rife with syphilis, a pitiable alcoholic, self-destructive artist, pathetically wasting away, wearing a nose piece, barely able to walk, an eye absent color, pining for an actress, Elizabeth Barry (Samantha Morton), he made a star (she had the talent, mind you, but he provoked her into becoming an actress of a certain caliber, molding her into a bonafide stage performance artist of sublime power), he seems unable to share a healthy relationship. Unable to truly appreciate love and life due to his resistance towards societal norms (or just what is expected from living a healthy, “productive”, decent lifestyle), giving way to drink, sex, and using his gift of the written word to polarize (his stage play for King Charles II, asked to help impress the French so that money could be provided by them (funds not provided by the Parliament or Church are starting to have a severe impact on Charles’ deteriorating finances) doesn’t glorify the king as much as mockingly poke fun at him with a theme of whoredom and dildos paraded out there as Wilmot portrays him, complete with fake nose), Wilmot doesn't exactly do himself any favors. His friends, and a loyal hooker, remain by his side and in his company even as he wears out his welcome and becomes barely able to walk. Alcock--what a name right?!?!--a thief hired by Wilmot because of his way of life, actually remains a honorable member of his entourage, there right at his death bed. I loved this. Only with Barry does Wilmot seem to find a heart and love long denied him. He can’t even keep from fouling that up. The gorgeous Rosamud Pike is Wilmot’s long-suffering wife, Elizabeth, having endured his infidelities and snide comments (he just can’t seem to offer the affection and attention she surely deserves; his “monkey” comment and accompanying portrait is a reprehensible moment that serves as an example of how much he can hurt her) their entire marriage. She’s devoted to him all the way to his end, a death at 33. John Malkovich holds a resolved tone, even when embarrassed, humiliated, and angered as Charles II, having tolerated Wilmot’s indulgences, attitude, and willingness to offend him repeatedly, serving quite the disrespect no matter how well treated he might be in return. His bit with the stage play in front of the French was about the last straw. To me, the score (which tonally fits the dramatics of what happens on screen, specifically Elizabeth’s training by Wilmot and Wilmot’s increasingly worsening physical state (and particularly his “performance” in front of Parliament)), the camerawork (notice how the camera follows the actors and their actions), lighting (it looks as if lit specifically with candles; dimly lit backgrounds also set off the characters and locations, especially the theater and brothel rooms), and performances all lift the film, while it glosses over the finer details that would have stretched the length into a mini-series. I’m not sure I could spend four hours with this man, but Depp is so spellbinding and captivating on screen, two hours was sufficient. I didn’t need to see, quite honestly, Wilmot “shagging” countless prostitutes or in the middle of an orgy (the director uses a haze of smoke and out-of-focus camera (and careful editing); sparing us all of that, instead just hinting at it all in dialogue, was fine enough to me. I have to say, my favorite part of the film revolved around the stage and how Wilmot's influence is undeniable; a wager on if Wilmot could make Elizabeth a star seems like the motivation, but I like when he tells her he wants to be "moved". I also loved Morton's scene where she is adamant that she wants to move people and be credited instead of Wilmot being able to brag to others that he was responsible. We see her Elizabeth perform an act one way, as her coach would do it, with Wilmot demanding (in his own cool and confident way) her to truthfully do it from the heart. That passion--even if tinged with anger and rage--is what excites and enthralls Wilmot. Seeing Wilmot deteriorate is rather tough to watch, I must say. Give Depp credit for making me care even as I understand that Wilmot's predicament was self-inflicted.