One I have been meaning to do for a while, is Roman Polanski‘s Carnage (2011) , in much the same way as I kept meaning to watch it for a while, since first becoming intrigued with its premise and, of course, the fact that Polanski was directing. So, was it worth the wait? Well…
…by and large, very much so. Polanski has really come into his own of late, with his excellent (and multi award-winning The Ghost Writer (2010)) being his previous film before his adaptation of the play God of Carnage by Yasmina Reza, who wrote the screenplay.
Its set-up will be familiar to anyone who is trying *really* hard to be a *really* good middle-class parent; the Longstreets, Penelope (Jodie Foster) and Michael (John C. Reilly) learn their son has been hit in the mouth hard with a stick by the boy of the Cowans Nancy (Kate Winslet) and Alan (Christoph Waltz). Attempting to show some community-minded spirit rather than descending into acrimony, Penelope (and Michael) invite Nancy and Alan over to sort the problem out and decide how best to proceed with bringing their sons back together. However, it would appear to be a case of like mother/father-like-sons as the evening descends, by slow but steady degrees into increasingly childish (and very funny) spite and recriminations:
Nancy Cowan: At least our kid isn’t a little wimpy-ass faggot!
Penelope Longstreet: Yours is a FUCKING SNITCH!
Alan Cowan: Penelope, I believe in the god of carnage. The god whose rule’s been unchallenged since time immemorial.
While it’s always a joy to see Christoph Waltz act in just about anything, and the ensemble cast works a treat, it is in fact Foster who takes the most plaudits for her performance, displaying an inner rage and subtlety that her earlier displays, while all very competent, have come nowhere near to touching.
And the film maintains credibility throughout – seriously, this is just the kind of thing that could so easily happen in our days of perilous parenting and could have taken the alternative title of ‘Good Intentions’, because we all know where they so frequently lead, now don’t we? And the film as a whole has the marvellous fascination of the car crash – you know you shouldn’t, turning your head away would be by far the best thing to do, but you ‘aint gonna do that, are you? Course you’re not.