WOMAN IN GOLD – The Review

Only a week after the sufferings of EFFIE GRAY, another “inspired by true events” drama set in the world of art (specifically paintings) makes its way to the multiplex. The two are quite different, though, with this new film set more than nearly 150 years after that romance gone sour. But this recent release has several flashback scenes some sixty years in the past, during the Second World War. And much of the dramatic highlights take place, not in lush estates, but in boardrooms and courtrooms. So, it’s a WWII thriller and a legal showdown pitting a plucky, feisty mature lady represented by an overwhelmed young lawyer versus an uncaring, unfeeling bureaucracy. Now with Helen Mirren as the lady and Ryan Reynolds as her aide, you know we’re in for a meaty drama indeed as they seek the return of that most celebrated Austrian artwork, the WOMAN IN GOLD.

Maria Altman (Mirren) is a widow well past her retirement age, who still runs a small clothing shop in LA in 1998. Newspaper articles about  a special display of Gustav Klimt’s work spurs her memories of growing up in a wealthy affluent household in 1930’s Vienna. After a family funeral service, she speaks with a distant relative, Mrs. Schoenberg (Frances Fisher) and inquires about her lawyer son. Randol (Reynolds) who has just joined a big, prestigious law firm, after his own private practice folded. He and his wife Pam (Katie Holmes) are anxious about the new gig, but after getting pressure from mom, he agrees to meet with Maria. He’s stunned when she informs him that Klimt’s most famous work, “The Woman in Gold”, is a portrait of her beloved aunt. It was taken from their family home during the Nazi occupation. And since she’s the last living relative, can she get the pieces (along with some others) back from the Austrian government? Luckily Randol convinces his new boss (Charles Dance) to take on the case (the work is worth well over a 100 million dollars). But both Randol and Maria will have to go to Austria to get their case heard. She’s reluctant, but they make the trek and are greeted by a helpful magazine reporter, Hubertus (Daniel Bruhl), who guides them to the old records and files. The government officials dismiss the two, and all seems to be lost. Time passes, and Randol’s stop at a LA chain bookstore reminds him of an obscure court decision. There’s still a chance if he can convince Maria to take up the fight once more, a fight that will eventually send them to the United States Supreme Court.

GOLD is essential viewing for fans of the always compelling Mirren. As with many recent roles, her Maria will not suffer fools. When we meet her, she’s feisty and witty, with retorts that cut to the quick, particularly in her first encounters with Randol (this young man will not dissuade her). It’s when she must return to her homeland and confront the ghosts, that Mirren shows us Maria’s vulnerability. She’s haunted as each familiar street and building dredges up painful memories and traumas. But she keeps going, trying to quelch her thirst for justice. When she’s thwarted in the old country, it’s Randol that must now be the inspiration and rekindle that flame. Reynolds is definitely out of his comfort zone in this role. Although an attempt is made to “de-hunk-ify” him via makeup, wardrobe, and hair styling, often his leading man charisma and charm break through. Still, he acquits himself well in this change of pace character, especially as Randol embraces his heritage including the horrors his family endured. Bruhl also makes an impression as another seeker of truth, perhaps trying to compensate for the sins of his countrymen. Holmes is a warm supporter for Reynolds, as she tries to be his “rock’ back in the states. There’s more outstanding work from Tatiana Maslany, best known for her lead role on TV’s “Orphan Black”, as Mariah in the late 1930’s who makes some very tough decisions along with Max Irons as her opera singer hubby Fritz. Maslany compliments Mirren nicely, bringing another aspect of Maria’s life. Dance is a superbly intimidating boss, while Elizabeth McGovern and Jonathan Price bring the right amount of gravitas to their very different judicial roles.

Director Simon Curtis makes a confident transition from his many TV projects to this feature film. He gets wonderful performances from this great cast and never lets the audiences get mired in legal minutia, thanks mainly to the screenplay by Alexi Kaye Campbell. The location cinematography of Austria is lovely, but never detracts from the horrors of occupation in the many flashback sequences. And the art is stunning, also, with a glimpse of Klimt applying the colors to the film’s title painting. We’ve seen several recent films concerning the Nazi occupation, but these scenes still pack a wallop as several of Maria’s neighbors seem to delight in aiding the invaders. Yes WOMAN IN GOLD concerns a celebrated work of art, but it’s also about two inspiring lives also worthy of celebration.

3.5 Out of 5