My original perception was that this was an indie flick that only played in the art houses because it was an artsy film. the truth is that it's a great film that simply didn't get the luck of the draw when it came with mass distribution. Woman in Gold would be at home with any of the Oscar nominees and contenders and would easily be considered more of an outright crowd pleaser than a film like Danish Girl (which got nominated in acting categories) or Brooklyn (which did make the final cut for Oscar).
The film is based on an eight-year-long quest by a California-based lawyer of Austrian descent and a longtime family friend from the motherland (the prior relationship between the characters is erased in the adaptation process) to reclaim confiscated art by the Nazis.
The film's main strength is that it's neither a holocaust story nor is it a standard courtroom drama, but it's a fresh new take on both genres. As for the former, the film feels fresh through its specificity to the Austrian experience and the specificity of a wealthy family. The film is more relatable to the experience of anyone descended of an immigrant who had to leave the old regime. As for the latter, the film's main challenge wasn't showing a guy having his flashy day in court but rather a long slog as it was taking a toll on his life. The film handles this challenge in pacing admirably.
More than that, the film flies on the strength of its central relationship. You never think of Ryan Reynolds (best known for subversive leading men or a smug action stars) and Helen Mirren as occupying the same universe but the chemistry between the two goes a long way towards making this film transformative.
The film is a powerful one about remembrance and loss. It teaches that one can't fix the past, but healing those wounds is a noble cause.
The film is based on an eight-year-long quest by a California-based lawyer of Austrian descent and a longtime family friend from the motherland (the prior relationship between the characters is erased in the adaptation process) to reclaim confiscated art by the Nazis.
The film's main strength is that it's neither a holocaust story nor is it a standard courtroom drama, but it's a fresh new take on both genres. As for the former, the film feels fresh through its specificity to the Austrian experience and the specificity of a wealthy family. The film is more relatable to the experience of anyone descended of an immigrant who had to leave the old regime. As for the latter, the film's main challenge wasn't showing a guy having his flashy day in court but rather a long slog as it was taking a toll on his life. The film handles this challenge in pacing admirably.
More than that, the film flies on the strength of its central relationship. You never think of Ryan Reynolds (best known for subversive leading men or a smug action stars) and Helen Mirren as occupying the same universe but the chemistry between the two goes a long way towards making this film transformative.
The film is a powerful one about remembrance and loss. It teaches that one can't fix the past, but healing those wounds is a noble cause.