’45 YEARS’ (AMAZON, APPLE, NETFLIX, VUDU)
For all the obsession with relationship stories, films by and large favor the slim pickings personal dramas of younger people over the smorgasbord that older couples offer. A relationship of several decades offers a scenario where not only the large transgressions create drama, but also the smaller ones — and the longer they become unattended to, the more likely the tiny problems escalate into something more devastating than any of the possible major crimes could be.
In “45 Years,” Geoff (Tom Courtenay) and Kate (Charlotte Rampling) are preparing to celebrate their 45th wedding anniversary with a big to-do. It’s an odd one to make such a huge deal about, both characters acknowledge, but the celebration of their 40th had been disrupted by Geoff’s heart surgery and they decided this was a good time to make up for that.
It’s by pure coincidence in this lead-up that Geoff gets some news that has to do with his past. It’s not really a secret, but it stirs up some old business that he can’t emotionally just toss aside. There’s processing to be done and he obviously needs the space to do it.Life doesn’t just go away, though, and Kate goes about the business of planning their party. But the longer Geoff struggles with whatever the news has caused to percolate to the top, the more Kate begins to sink into concerns of what has gone unaddressed, and how the subject of the news might have affected their entire relationship in invisible ways.
Courtenay approaches his role with his typical odd, uncomfortable, sometimes addled, sometimes agitated self, and this makes him a perfect container for what his character is living through, while Rampling is perfect as a composed person who slowly begins to unravel as her reality begins to stare her in the face.
The drama unfolds with honesty thanks to the fact that there is no bad guy. Neither Geoff or Kate did anything terribly wrong, or are doing anything terribly wrong, and that’s the horrible lesson here. No one has to do anything particularly bad in a relationship for there to be trouble. They just have to be human.
‘THE ALIENIST’ (NETFLIX, TNT)
Adapted from the novel by Caleb Carr, “The Alienist” follows an investigation into a series of murders in mid-1890s New York. Someone is preying on young boy prostitutes, and criminal psychologist Dr. Laszlo Kreizler (Daniel Br hl) is called in by police commissioner Teddy Roosevelt (Brian Geraghty) to find the perpetrator of the crimes.
A team forms around Kreizler that expands the experience wider than is typical, thanks to Dakota Fanning’s dignified turn as Sara Howard, lightly based on Isabella Goodwin, the first woman detective in the New York City police department, and twin Jewish brothers Marcus and Lucius Isaacson (Douglas Smith and Matthew Shear), who serve as forensic specialists on the police force and are placed at a cultural distance from the Irish mainstream there.
The series itself unfolds with good tension and atmosphere, but what sets “The Alienist” apart from some of its fellow Victorian era shows is the aspersions it casts on toxic masculinity and the wounds that not only mark the victims, but those who cross the victims. Whereas the worlds of cathouses and opium dens are sometimes presented in romantically gritty, in “The Alienist” they are clubhouses of the lost and the shamed, they are signs that something is not right, that something is dark.
“The Alienist” suggests what we already know — that darkness lurks in everyone — but unravels that understanding in a world that didn’t quite grasp it, that divided up the human race in terms of respectability, and assigned gender and ethnic roles that were expected to be played. It’s an exciting period detective show, but its cultural understanding of the time it depicts makes it exceptional.
Originally published at www.berkshireeagle.com.