Backbeat
`Backbeat,' the story of `the lost Beatle,' skips a beat; Polanski's `Bitter Moon' will induce seasickness.
There are two new English-language art films in town, both concentrating on obsessive relationships, one set against the backdrop of the Beatles in the band's early days, and the other about disenfranchised souls who become too dependent on each other.— "BACKBEAT" is the story of Stuart Sutcliffe (Stephen Dorff), "the lost Beatle," who left the band before it gained fame in the early '60s. The film concentrates primarily on Sutcliffe's relationship with his childhood best friend John Lennon (Ian Hart) and, later, a German photographer named Astrid Kirchherr, considered the creative force behind the band's "look."
Sutcliffe and Lennon are shown as rowdy buddies, getting into a barroom brawl as the film begins and later sharing wine, women and song as they go to Germany for a series of gigs in strip joints over the summer of 1960.
In addition to Stu and John, the band at this point includes Paul (Gary Bakewell), George (Chris O'Neill) and Pete Best (Scot Williams). (The character of Ringo makes a brief cameo.) And the early nightclub scenes capture very well the kind of raucous revelry that must have made those performances memorable. (There are no Beatles songs here, but the early cover tunes — "Please, Mr. Postman," "Money," "Twist and Shout" — are great.)
Also problematic are the thick Liverpool accents and the unfamiliar slang, which cause a fair amount of the dialogue to be lost. (The film is also quite raunchy, so be advised that the R rating is deserved.)
But Dorff is quite good in the lead, and Hart is nothing short of amazing as Lennon (whom he also played in the little black-and-white art film "The Hours and the Times").
And obsessive fans of the Beatles — and there are many — will probably want to see it despite the flaws, if only to satisfy the curiosity factor.
"Backbeat" is rated R for profanity, vulgarity, sex, nudity, violence and drugs.
— "BITTER MOON" is a new film by Roman Polanski, and you'll have to search through an awful lot of movie muck to find a more flaccid piece of cinematic pap.
A histrionic exploration of sexual obsession, "Bitter Moon" features the movie star of the moment, Hugh Grant, of "Four Weddings and a Funeral," as well as his "Four Weddings" co-star Kristin Scott-Thomas. But the film is really more devoted to Peter Coyote and Polanski's young wife, Emmanuelle Seigner.
The setting is a New Year's cruise from Europe to Istanbul, where an English couple, Nigel and Fiona (Grant, Scott-Thomas), are planning to fly to Bombay as they celebrate their seventh wedding anniversary.
The film opens with Nigel and Fiona on the deck of the ship when they encounter an ill French woman, Mimi (Seigner), whom they lend a hand. Later, Nigel goes into the bar, where he sees Mimi performing an exotic dance on the stage. She then sidles up to Nigel for a drink, and while he attempts to make a few pleasantries, she insults him. Then, as Nigel heads back to his room, he is confronted by Oscar, an American in a wheelchair (Coyote), who insinuates that Nigel has his eye on Mimi. Oscar is Mimi's husband, and as he points to his legs, he says that, "She did this."
Most of the rest of this very long movie (two hours, 19 minutes) has Oscar relating to Nigel the sordid story of his life with Mimi, in vividly descriptive sexual detail: A failed writer in Paris, Oscar meets and becomes obsessed with Mimi, as their affair becomes more kinky and dangerous. Finally, Oscar burns out and Mimi becomes the obsessed party, while he starts being quite cruel to her. Ultimately, however, they will switch places again.
There are lots of symbols and metaphors here, but the one that seemed most accurate was when, at three different places in the film, three different people vomit. You may feel similarly inclined.
"Bitter Moon" is rated R for violence, sex, nudity, profanity and vulgarity.