The Cook, The Thief, His Wife And Her Lover [DVD] [1989]

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The Cook, the Thief, His Wife, and Her Lover Movie Review (1999)". Roger Ebert. 1 January 1999 . Retrieved 30 January 2016. Shot entirely on Elstree’s stage six, the story unfolds during line evenings at an exclusive French restaurant where the Thief hangs out with his scummy gang of cut-throats, regaling them with his obscene vanities and diabolic table manners, and casually brutalising his long-suffering Wife (Mirren). The Cook, the Thief, His Wife & Her Lover (1989)". Rotten Tomatoes. Fandango Media . Retrieved 15 August 2022. Michael Gambon as Albert Spica, "The Thief": A violent gangster and owner of "Le Hollandais", with pretensions of being a gourmet, but his coarse and violent behavior wreaks destruction on everyone around him.

Recently, I posted my thoughts on the movie “ The Platform ”, a movie which I watched as my thoughts turned to the rich experience of food at Thanksgiving. The movie is visually beautiful, managing to be both Brutalist in its sets, while a meticulously set table of a sumptuous feast is shown descending, to be ravaged and destroyed, color filtered through a washed out palette that renders its splendor null and void, draining it’s vitality as it heads into decay. The Platform is also a horror, and horror requires something that perhaps brings up the bile in our throats, and what better statement to make about food as a symbol of Power, the inequities of this world, vice, transformation and survival than cannibalism? Stunningly photographed by Sacha Vierny, this unnerving film takes place mostly in a cavernous French restaurant called Le Hollandais. The main room is dominated by a 1616 painting by the Dutch artist Frans Hals, A Banquet of the Officers of the St. George Civic Guard Company. The dignity of the officers as they sup is a stark contrast to the crudity of the hoods who chow down before it. The cruel and sadistic crime boss Albert Spica (Michael Gambon) has dinner every night in his restaurant with his wife Georgina Spica (Helen Mirren) and his gang. Albert abuses of his wife, his gangsters, the chef Richard Borst (Richard Bohringer) and the restaurant employees. The Cook, the Thief, His Wife & Her Lover isn’t for all tastes, in both the literal and metaphorical senses of the term, as it’s filled with imagery both beautiful and unpleasant. Greenaway has a unique gift for making food appear both attractive and disgusting at the same time, and the film freely associates sex, death, and bodily functions—as Albert notes in his typically coarse fashion: “The pleasures are related because the naughty bits and the dirty bits are so close together that it just goes to show how eating and sex are related.” But for adventurous viewers, it’s an open text with limitless depths to explore.

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Artist and filmmaker Peter Greenaway had made five feature length films and numerous shorts before "The Cook, the Thief, His Wife & Her Lover" in 1989. Experimental in nature and far from being commercial or structurally traditional, Greenaway followed in the footsteps of abstract artists that challenged their artforms by introducing ideas what were not frequently explored. He had stated that most cinema has been a retelling of novels but in a visual medium, and that there was little to be excited about by its straightforward and linear structural state. His early features "The Draughtsman's Contract" (1982), "A Zed & Two Noughts" (1985), "The Belly of an Architect" (1987), and "Drowning by Numbers" (1988) were critical hits, with the last two nominated for the Palme d'or at the Cannes Film Festival and Greenaway winning the Best Artistic Contribution prize for "Drowning in Numbers" there. But this was only the beginning. "The Cook, the Thief, His Wife & Her Lover" was bigger, bolder, more extravagant, more daring, and eventually more controversial than anything he had done on film up to that point. This lengthy vintage documentary has Greenaway in Munich, Dusseldorf, and Amsterdam discussing about art, filmmaking, his career, his style and more, which is also interspersed with clips from his early works. In addition there is a lengthy segment on an art installation he produced featuring various nude models, plus a lengthy behind the scenes look at the making of "Prospero's Books", released the previous year. They hide for a time in the bookstore, which Georgina cannot fathom. “What good are all these books to you? You can’t eat them.”. Food is desire; how can he remain enthralled by something so ethereal? Yet books are symbolic of intellect, a facet of self that Spica has no hope of owning. He uses this symbol so dear to The Lover to extinguish his life; it is appropriate that it is food, the symbol of his carnality literally embodied by that same Lover, that is a participant in Spica’s undoing.

And as mentioned before, it's that odd, twisted humanity that makes Albert Spica feel, in a way, genuine. Without that wrinkle to the character, there is a chance that the film's principal antagonist would feel silly, and perhaps less like a genuine threat. It's his credible evilness and capacity to continue doing harm that makes him so easy to root against, allowing the eventual revenge of his wife (the details of which are probably too disturbing to detail here... but also, it would be doing the film a disservice to discuss) to feel all the more satisfying. And, at the risk of sounding like a broken record, it's Michael Gambon who was essential in making this character work. Albert Spica would've been an immensely difficult character to play, and getting into the headspace of such a man (even a fictional man) would've likely been upsetting. It's a testament to Gambon's acting skills that he pulled it all off, and portrayed a film villain for the ages. The central theme of food is a subject of earthly needs and desires, but also of excess and greed. Sensuality can be found in finely presented feasts, and sexual drives are aligned with the need to be fed an most basic urges, a thought so inelegantly expressed by Spica himself as he states “The naughty bits and the dirty bits are so close together that it just goes to show how eating and sex are related”. The affair and the meeting of sweating, naked flesh occurs in uncomfortable proximity to the food that will be used by the kitchen – the storeroom full of cured meats and bins of uncovered food is notable, and creates a feeling that the lovers themselves are, in this moment, the feast. Interlaced with images of knives reducing food to component parts, focus on the shapes of food that are meant to mimic genitals and set a threatening aura that highlights the danger and the urgency of their trysts. All the while, the rich and saturated use of color spills everywhere. The Cook, the Thief, His Wife & Her Lover (18)". British Board of Film Classification. 14 September 1989 . Retrieved 27 September 2013. Ciarán Hinds as Cory, a pony-tailed pimp who is ejected from Spica's gang after he protests against Spica's brutal treatment of his girls. Greenaway has a love of criticisms of culture and societal structure. Spica is a cruel and distasteful vulgarian, created to be despised and destroyed. Georgina simply is a person who may have found the joys in pleasures of daily living – food in particular is a sustaining pleasure to her, and sex gives her some escape from the trauma of her marriage, yet it is fitting that she transforms into a being who brings forth justice in her revenge – we are grateful for her snapping point after witnessing such suffering. We recognize the rich table set before such metaphorical swine as Spica and his thrall as symbolic of those in power who revel in the spoils they steal from the commoner, while enjoying the debasement of those that they exploit and violate, laughing all the while. There is gratification in watching the corrupt be called to justice, and in watching their destruction. Truthfully, a part of each of us would likely gladly extract our pound of flesh from these monstrosities, given a chance, and reclaim some of what we have had stolen from us, while returning the gift of suffering such men in power dispense to all below their station, to remind us who is in charge.The film's original running time was 124 minutes. Due to the content, the MPAA gave Miramax a choice of either an X rating or go unrated (adults only) for theatrical release. Unrated was chosen in light of the X rating being more associated with pornographic films. Two versions of the film were released on VHS in the 1990s. One was an R-rated cut running 95 minutes (mainly for large video store chains); the other was the original version. Paul Russell as Pup, a kitchen boy who brings food to Georgina and Michael while they are in hiding at Michael's bookshop. He is a boy soprano who sings while washing dishes. Georgina discovers that Albert has murdered Michael. She goes to Richard and asks him to cook Michael and serve his body to Albert. Richard is initially reluctant but Georgina is able to convince him, considering Albert's deplorable treatment of everyone around him, including herself and Richard. It’s not surprising that Georgina takes a lover, a bookish sort named Michael (Alan Howard) who often dines alone at the restaurant. Before long, Georgina and Michael are sneaking off to toilets and pantries for sex while Albert gorges on food. The restaurant’s cook (Richard Bohringer) helps the lovers. Later, when Albert learns of their deception, he exacts a hideous revenge. And then Georgina goes him one better with a unique last supper. I’ll spare you the details, but those with sensitive stomachs may bolt for the exits.

Audio is offered in English 2.0 DTS-HD Master Audio with optional English subtitles. This is the original theatrical Dolby Stereo matrixed four-channel mix, and it has a nice sense of spaciousness when decoded. The surrounds are primarily used for ambience, but they make the large spaces such as the kitchen feel truly cavernous—it’s still an immersive mix, even with limited directional effects. The dialogue is clear, and Michael Nyman’s classic score sounds superb. Richard Boarst (played by Richard Bohringer) is the chef of Le Hollandais, a lavishly large and atmospheric restaurant where he must abide by the new owner's strict demands in preparation and presentation. Albert Spica (played by Michael Gambon) is the mobster who owns Le Hollandais. A sadistic and greasy figure who is bossy and cruel not just to the chef, but also to his underlings as well as his wife. His wife Georgina (played by Helen Mirren) is in an abusive relationship with her husband who constantly harasses her sexually, mentally, and physically in front of everyone though she is no strong enough to break away from him. Then there is Michael (played by Alan Howard), a bookshop owner who dines nightly at Le Hollandais while reading. It is at the restaurant that he and Georgina start a sexual relationship, but what will become of them once the sadistic husband finds out about their new relationship? As seen immediately, in the film, The Cook, The Theif, The Wife & Her Lover takes great advantage of the use of color. The last film I can think of that uses color so overwhelmingly is Bergmans Cries and Whispers, where he drowns the audience with red. What I found stunning in this film was that the scenes were so beautiful while all taking place in-doors, in fact the only ugly scenes were the outdoor ones, which took barely any screen time. Greenaway’s formalism is manifested from the opening shot of the film— The Cook, the Thief, His Wife & Her Lover doesn’t break the fourth wall, because no such barrier exists here in the first place. The sets are overtly theatrical, with carefully color-coded production design and costuming (the latter by none other than Jean-Paul Gaultier). Sascha Vierny’s extraordinary cinematography and Michael Nyman’s minimalistic score both help to tie everything together. Greenway fills the frame with a myriad of references, allusions, and even the occasional visual or verbal pun. He cheekily allows Flemish painter Hans Ral’s The Banquet of the Officers of the St George Militia Company in 1616 to dominate the central dining room of the restaurant, without explaining that Ral painted the members of the same company in 1627 and 1639 while wearing different colored sashes—an obscure reference which explains what happens to the sashes worn by Spica’s gang as they move from room to room. Even Albert’s name uses wordplay to conceal an ironic reference: “Spica” is an anagram of “aspic,” and aside from the gastronomic reference, there’s also no dandy in this particular aspic. For a film that throws such an abundance of blood, bodily fluids, and rotting flesh at the screen, nothing can be taken at face value. Richard Bohringer as Richard Boarst, "The Cook": The head chef of "Le Hollandais". He resents Albert Spica, who has taken control of the restaurant.Albert comes to the restaurant each night and holds court with his entourage and Georgina, while criticizing Richard's menu choices. Georgina notices a quiet regular customer, Michael, who is always reading. The two begin a clandestine affair with most encounters occurring in the restaurant itself. Georgina believes that if she engages in her affair in Albert's place of business, it will be easier to keep hidden from her husband. Alan Howard as Michael, "The Lover": An erudite bookshop owner who dines at "Le Hollandais" every night while reading a book. He carries on a doomed affair with Georgina. Groves, Don (13 December 1989). " 'Future II' hot, 'Oliver & Co.' surges in Europe". Variety. p.40.

The greatest scene of the film is when the affair begins in the restroom, and Albert comes in. Standing outside the stall the intensity reaches an all time high. It's interesting that Albert behaves at his worst in restrooms after this. It comes as no surprise to learn that it took director Peter Greenaway a very long time to find a film company that would consider his script for more than 30 seconds, since the film opens with a close-up of dogs gorging on hunks of bloody carcass and then pans to the Thief (Gambon) force-feeding dogshit to a naked man. The cold artiness of Greenaway’s previous films (The Draughtsman’s Contract, The Belly Of An Architect) is thoroughly subordinated here. Conception is one thing, execution another, and Greenaway’s collaborators on Cook, Thief give it a crystalline sharpness that sets it apart from his other narrative films, even those that are more ambitious and visually dense. His cinematographer, Sacha Vierny, once a lenser for Greenaway’s cinematic hero Alain Resnais on films like Hiroshima Mon Amour and Last Year At Marienbad, covers the soundstage in impeccable dolly shots and painterly lighting schemes. His composer, Michael Nyman, brings a baroque grandeur to a score that pulses with the hypnotic repetition of Philip Glass at his best. And the costumes, by Jean-Paul Gaultier, are suitably avant-garde and suggestive of wealth and power, particularly Mirren’s final gown, so imperious that it takes two servants to manage the train. The controversy of the film comes from the content seen. The cruelty of the mob boss towards others including his wife Georgina is very disturbing, as he has no trouble with hitting her, then grabbing her, caressing her monstrously, and somehow justifying his actions as right while his gang and others look on with somewhat fake smiles. Not everyone thinks the same, as the chef is a sympathetic person, who helps those receiving abuse when the boss is not looking. When the affair starts between Georgina and Michael, he is helpful in getting the two lovers to hide while Albert roams around screaming his head off. In addition to the violent acts, the sexuality is also part of the controversial nature. Though none of what is shown is explicit, there is both male and female nudity seen in both sexual form and in cruel form such as in the opening sequence. In addition there are a lot of uncomfortable scenes such as maggot infested meat and the climactic final feast which won't be spoiled here, but may spoil some appetites of viewers who see it. Albert Spica ( Michael Gambon ) is an imposing criminal boss, who has decided he will shine his patronage upon his favorite restaurant, Le Hollandais. We are introduced in a scene in which we see a man debased and beaten, ending in scatalogical humiliation. Spica has elbowed his way to part “ownership”, prepared from the start of the film to bully his way to the forefront, each night bringing in his crew of henchmen and his long-suffering and traumatized wife Georgina ( Helen Mirren ) into the restaurant where he can openly display his brash and uncultured tastes at the dinner table as lavish feasts are presented for his consumption by the Cook, Richard Boarst ( Richard Bohringer ). Georgina herself seems to bear herself with elegance and a nuanced taste that goes undeserved by her husband, who constantly abuses and terrorizes her.Immediately upon seeing the opulently prepared food, knowing it would be rendered into refuse as the story progressed, I was reminded of a long-time favorite of mine, the Peter Greenaway film, “ The Cook, The Thief, His Wife and Her Lover ” (1989). As a person with a deeply ingrained appreciation for the pleasures of food, not only for nourishment and enjoyment of it, but as a rich and sumptuous visual metaphor, this movie fed my art-house cravings. The Cook, the Thief, His Wife & Her Lover is a 1989 crime drama art film written and directed by Peter Greenaway, starring Richard Bohringer, Michael Gambon, Helen Mirren and Alan Howard in the title roles. An international co-production of the United Kingdom and France, the film's graphic violence and nude scenes, as well as its lavish cinematography and formalism, were noted at the time of its release. The Cook the Thief His Wife & Her Lover" is one of the most grotesque, eschatological, bizarre and weird films that I have ever seen. But it is also absolutely original and mesmerizing, with intense use of colors, and with the contrast of vulgarity and art. Food, eschatology, sex, cruelty, torture, cannibalism and revenge are entwined along 124 minutes running time. The result is not pleasant and only specific audiences will appreciate this film. Last time I had seen this film was on 08 September 2000 on VHS. My vote is eight.