Par effraction

There is a compelling need for redemption in Anthony Minghella's characters. The need itself is so blatantly human that sometimes, you have to look away. The plea of the characters is as diverse as it is identical. Don't ask me to explain, I may ruin the whole thought just by trying an intellectual explanation when in fact it only makes sense viscerally. Jude Law is back in top form and I for one want to cheer. He is extraordinary. Extraordinary! Juliette Binoche's Bosnian mom is another miracle of truth in her already magnificent gallery of truthful characters. Her son, played beautifully by Rafi Gavron doesn't allow us to take anything for granted. Robin Wright Penn's Liv is truly Bergmanesque and provides the perfect icy foil for Jude Law's longing. I came out of the theater drained and reinvigorated. That in itself is a huge recommendation.

Will Francis (Jude Law) opens a new architecture office in the transitioning London neighborhood Kings Cross. He and his girlfriend Liv (Robin Wright Penn) are growing distant and her autistic daughter Bea is one of the reasons. Meanwhile Amira (Juliette Binoche) is worried about her son Miro (Rafi Gavron) slipping into criminal activity. They're from Bosnia and his father was killed during the war. Miro is teamed up with his cousin Zoran (Ed Westwick) in the family crime business. They break into Will's office to steal computers. Miro steals the valuable miniatures for his own artistic work and is given Will's personal computer as a reward. They rob the place a second time and Will's partner Sandy (Martin Freeman) almost runs into them. Detective Bruno Fella (Ray Winstone) investigates. Will and Sandy decide to stake out their own offices and encounter prostitute Oana (Vera Farmiga) working in the area. One night, Will catches Miro and follows him all the way home. Instead of directing the cops to the thieve, he starts a relationship with his mother.

This is written and directed by Anthony Minghella. I have no specific problems with the directions. It is all about the writing. It is overloaded with class warfare melodrama. Everybody has their own dramas. There is just too much. That's not to say there is nothing worthwhile. Binoche is amazing in this. If this is a simple movie about her and her son, this could be an award worthy performance. Again there are so many characters who each have their own drama. Minghella could easily cut out Sandy and Oana. Quite frankly, I couldn't care less about Will and his family drama either. The complicated melodrama is simply too complicated.

How does one choose a film to view? Often it is the subject matter - here the fraught relationship between landscape architect Will and both his partner of 10 years Liv (who has an autistic daughter) and his new lover Amira (who has a thieving son). Sometimes it is star - in the case, Jude Law who has to choose between his American partner who has an obsessive approach to parenthood (Robin Wright Penn) and his Bosnian refugee girlfriend who works as a seamstress (Juliette Binoche). Other times it is the director - on this occasion, Anthony Minghella who writes as well as directs as he returns to the north London milieu in which he located "Truly, Madly, Deeply".

All of these are reasonable reasons for wanting to see "Breaking and Entering", but I confess that it was the supporting French actress Juliette Binoche that drew me to the work. I've been in love with her ever since her first English-language appearance in "The Unbearable Lightness Of Being" in 1988. She is simply beautiful in a bewitching manner, while always convincing as an actress, especially in vulnerable roles.

This is a multi-layered work in which the title can be taken in three ways: the obvious sense with the robberies perpetrated by Amira's son Miro; the deeper sense with Will's emotional assault on Amira; and still another sense as the middle-class Will and his like invade the traditionally working-class area of Kings Cross.

Those who need car chases or special effects in their movie experiences should avoid Mighella's parable, but those who value thoughtful and nuanced works will find much to admire here.

Gosh. Here's a film that not only went directly to video, but horror of horrors, it was directly to Blockbuster.

And yet it is precisely in the center of one of the six nodes of film perfection. Its that place where cinematic qualities recede and theatrical drama of the Chekov variety is delivered: should in conflict; souls in pain; souls striving toward some sort of tentative peace, knowing that each balance is forged personally.

Now that Mangella has died, taken from us early, I appreciate him. He made a commercial excrescence in "Cold Mountain," but there are elements of his other films that show a delicate soul behind the noise. Here he is himself, directing something he has conceived, and brought into the world.

Its a marvel of tension. He has two mothers, each struggling alone with "special" children. Two children who are addicted to gymnastic life beyond what is healthy and reasonable. Tow enterprises to clean the city, one using trees, the other sensitive policing.

Two themes of ethnic cleansing.

In other words, two haunting worlds that swirl around our focus, the one who draws, creates models, makes photos on a MacBook. This character is played by Jude Law. He's not who I would have chosen to play this man who manages four balancing acts, all connected to each other. I just don't think he is an interesting enough soul to speak to us about these sorts of things. He's basically a child himself in these matters.

It almost doesn't matter, because Mangella fills in the void with cinematic ambiguities. There are deleted scenes on this DVD that should, really absolutely have been in the final cut. Why they were not baffles me. Would it lessen the commercial value of the thing? One involves a coworker, a women apparently worth exploring, who Law's character considers. That he backs off makes his subsequent leap all the more forceful.

The two women here are played by real actresses. By this I mean that they not only know how to show us what their souls contain, but they have souls worth visiting when (temporarily) so shaped.

Binoche may be our most real woman, here moving between a woman and all women. Shes a blessing/ I feel blessed to have known her this way, and blessed that Mingella made the introduction and engagement such.

I think you should see this. Its his real legacy.

Ted's Evaluation -- 3 of 3: Worth watching.

Minghella's 'Breaking and Entering' is an excellent modern tale set in London that revolves around the relationships of (1) a "green" company director, (2) his longtime Swedish girlfriend and (3) a Bosnian immigrant. Admittedly I am not a big fan of Jude Law (what self respecting individual is!?) but he plays his part so efficiently it was a masterstroke casting him in the lead role. His character is trite seemingly disinterested and frequently irritating but wholly believable and realistic. He may come across as a London male stereotype but as said Law is so convincing it does not matter it just adds to the realism. Wright Penn is fantastic as his troubled Swedish girlfriend. She has to look after her 10 year old daughter suffering from ADD while struggling to feel appreciated and loved by the vacuous Law. Wright Penn fits the bill ably. Her character may be not perfect, her role at the end of the film is somewhat lacking in self respect and is slightly humiliating and desperate following a very selfless action she takes in helping out someone else, but again the films strength is its realism not its heroics. But the star of the film is the magnificent Binoche. Her performance is easily the best female performance I've seen in a film... ever! She plays the suffering mother of a troubled youth and lost her husband years before. She becomes entangled in a relationship that she should avoid but, as she states herself, it has been years since anyone showed her affection so she is vulnerable to an advance. There are two scenes which exemplify Binoche as the best actress in the business; when she decides to take pictures of her sleeping lover against his knowledge, she tries to make it look like she enjoys it but immediately reviles with disgust and disgrace, and when she descends to desperate begging from her lover for his help. Both scenes are so powerful you will be moved very much. The film has a number of subplots and social commentaries (and a few funny moments: look out for the scene in which one character states "Latte's have been drunk" you'l understand when you see it) but I will not dwell on them as they are secondary to the excellent performances of its cast. An engrossing and enjoyable film, make it a priority to see it.