Felicia's Journey

Felicia's Journey was one of those films that I loved, then hated, then liked, then thought was decent. It was a difficult film to watch because the pacing that Egoyan has implemented is unlike any other film that I have seen. His use of the camera to create that uneasy sensation on screen and while watching the film was very impressive. Hoskins gives the performance of his career as this very controlled man with a very dark secret while Elaine Cassidy impressed me with her simplistic portrayal of Felicia. This was a brilliant film, but there were just some scenes and elements that didn't seem to match the rest of the film. The ending in particular was a bit misleading and at times rushed, but everything building up to that point really hit a strong nerve. If you were to define the word "thriller", I don't think that you could do it without mentioning this film. Brilliant acting, an interesting use of direction (which worked very well), and a story that allowed itself to be build upon during each scene are just a few of the great moments (that overshadow the poor) in this movie.

Felicia's Journey would not have been the powerhouse that it was if it was not for the powerful acting by Bob Hoskins who completely engulfed this character and showed us this rare glimpse of evil humanity. While I am sure that some of it is due in part by Egoyan's direction, but you cannot keep your eyes off Hoskins whenever he is on the screen. He builds his character so well, and bit by bit, that you never can anticipate what will he will say or do next. That is what is brilliant about Hoskins. Normally, when you have a troubled soul like Hilditch you can sometimes guess what he is going to do next. Actors sometimes fall into a pattern of repetition, but with Hoskins it was as if we were watching the final chapter and there were bigger events taking place. He also worked so well with Cassidy that at times I had forgotten that I was watching a film. His ability to be this sinister father figure to this girl was impressive. Hoskins really built this beautiful family dynamic to the film that I never saw coming. Outstanding performances by both that any film connoisseurs should not miss.

Taped onto the vintage acting is this deeply engrossing story that pours from the bottle like some freshly corked wine. The simplicity of the story allows the complexity of the characters emerge and be triumphant. The story gives our characters layers upon which we gradually peel away. Hoskins character especially. From the opening scene until the final, I felt as if I was given the whole course, and not just bits and pieces. While Felicia's name does take the title of this film, it is Hoskins whom this story is really about. We learn more about his life, and his struggles than we do with Felicia. Yet, the story does not stop there. I found it quite interesting that Felicia father caused her conflict, while a matriarchal figure challenged Hilditch's perception. I thought that Egoyan was really trying to do more than tell a serial killer story (as the box may reveal) by giving us these strange and strangled family moments. I felt as if this was more a story about family, then it was about the horrors of humanity … or perhaps it was a slice of both. Either way, the story is the foundation to this picture, and for the first time it really worked. So many times we go to the theater expecting to be blown away by a creative and empowering story, but this time it was a polar opposite. The acting is what kept this film high above water, while the story (as simple as it was) only helped build Hoskins and Cassidy further into the world of impressiveness.

Finally, there was Egoyan behind the camera doing what he does best. I have seen only one of his other films, Exotica, and he is notorious for building the suspense from behind the camera as well as in front. His choice of panning in the wrong direction, the colors surrounding our characters and the sound of the film hit our nerves before any actors even walk into the picture. This is all coming from Egoyan's mind, which continues to impress me with each film that I view. I cannot wait to see more of his work and to see how well he has developed with each project. You can definitely see the Hitchcock influence that has been imprinted with Egoyan. I finished watching Frenzy (by Hitchcock) right after this film and the similarities were uncanny. Egoyan reminds me of a cross between Hitchcock and von Trier. His bold style makes each film his own, yet he is not afraid to be brutally honest and attributive to the cultural setting. He is a true filmmaker that needs to continue to prove that you don't need millions to create a masterpiece.

While I have given credit to everyone, and thing, that deserves it in this film, I must finish this review by saying that this film was not perfection on a stick, but very close. There were some unfinished ends that could have been tied better, and the ending just felt as if there was this outside influence at work that Egoyan was battling. Up until the final twenty minutes of this film, I was thoroughly enjoying what I was seeing, but when the idea of religion was brought in from left field, I felt the final moments were rushed and forced. I needed something just as dramatic, just not so random. Also, I needed some form of conclusion to Felicia's actual "journey". Did she find what she was looking for? Overall, I was very impressed with this film.

Grade: **** out of *****

Egoyan's presentation really sets the mood for the film. The music is particularly effective, and the look has a certain ominous feel even in the scenes where characters would normally be at peace with nature.

This movie was so riveting and engrossing because it kept building up by revealing more about the mysterious main characters. It goes about doing this in a manner that makes the film more interesting by opening up possibilities instead of closing them. As we get more of an idea of who these people are, the tension mounts because we can see the movie is leading to a major disaster, but we aren't sure what and when.

The flashbacks and transitions between the two main characters are so effective. The flashbacks slowly reveal what caused the characters current traumatized state (their main similarity is it's one parent, but they don't know of this similarity), while the transitions emphasize comparisons between the two.

Hoskins performance is really the key because he has most of the lines. He does an exceptional job, changing a little bit with each revelation about his character. By the end of the story, he's nothing like the guy that you thought he was at the very beginning, but the changes are totally credible. Although I mentioned he has most of the lines, the most impressive thing about his performance is the believability of the emotions he's portraying throughout this dialogue because his character is one that generally doesn't say what he's really thinking and feeling. On some occasions, his intense feeling is really obvious. In a lot of others though, it's buried beneath the skin as the point is the topic of conversation or the other persons actions have caused something to stew inside of him but his character is trying his best not to boil over.

Cassidy is highly impressive because she's able to convey the all the emotions without many lines, especially since all her lines are purposely delivered with the same unassuming nature and low key tone. As is one of the trademarks of characters in Egoyan's movies, she also has a dualism in her actions and words where we kind of believe more toward the opposite is actually true. We aren't really sure, but we can see that something is beneath the surface. It's hidden just enough so that the person she's with doesn't see it. Depth, subtlety, and what lies beneath are definitely the strengths of this movie and Egoyan's cinema in general.

The movie really stands out because you could see how easily it would have been another boring and predictable thriller had it been made in Hollywood. Hoskins would have been much more narrowly defined so he could be a clear-cut villain. The narrative would have been dumbed down and told in a more conventional style. The director would feel he had to insert some happy or comical moments that would only water down the intensity and weaken the portrayals of these characters. The temptation to totally leave the psychological level and have Hoskins chase Cassidy around his house with a sharp object at the end would have been too great. Luckily, it wasn't made in the land of the rehash, so it was a somewhat challenging movie that stayed true to its roots from start to finish.

Aside from leaving Canada, I don't see why people think this is so different from Egoyan's other famous films, Exotica & The Sweet Hereafter. The core ideas, style, and presentation are all here. Like those other two, this is an excellent film that's one of the years 10 best. 9/10

Atom Egoyan has again created another striking work of art with his adaptation of the William Trevor novel, "Felicia's Journey". The director of such great films as: "Exotica", "The Sweet Hereafter" and "Speaking Parts" has ventured from his Canadian world to that of the British Isles. He does so effortlessly and again confronts an amazing story told in only the way he can.

The film has the air of confidence from a film maker who has now truly found his rhythm and the ability to bring it to a mass audience. He again starts with a dark theme and manages to keep his world secretive until the final frames keeping the audience riveted. His amazing talent continues with the ability to elicit amazing performances from both established actors like Bob Hoskins and new faces like Elaine Cassidy as well as his ever lovely and talented wife, Arsinee Khanjian.

Hoskins has one of this year's best performances. The chilling Mr. Hildich would have been muddled by a lesser actor, turned into a poor man's Hannibal Lecter. But Hoskins makes the character grow with the film, he only gets more menacing as the film progresses...but never too menacing that you can't feel for him. Cassidy is equally skilled in bringing young Felicia to life. A young woman who is lonely and confused, but determined to see her dreams fulfilled. Also a special mention should be given to Claire Benedict who plays Miss Calligary...a missionary who never quite knows when to quit...even for her own good.

The story does unfold in a series of flashbacks, so those with short attention spans may need to avoid this film. But in doing so, they would rob themselves of an amazing story.

A key element to the film is Mychael Danna's musical score for the film. Music is used much more as a key player in the film than Egoyan has used in the past. It works greatly to his advantage.

This film was the opening night to the 24th Toronto International Film Festival...it was an incredible way to begin the fest. It certainly will be remembered by me for many years to come. Thank you Mr. Egoyan.

If I had to make a top five list of the most consistent of contemporary film directors, then Atom Egoyan would certainly be included.

Felicia's Journey adds another notch to a terrific portfolio of films. Yes this film could of trimmed ten minutes from the sagging middle section, and also lost the seemingly tacked-on epilogue.

Those points aside, it's still far superior to practically all other films on offer. Dealing with his familiar pre-occupations with family disfunctionality, sexuality and videotape, Egoyan coaxes Bob Hoskins into the most subtle and mesmeric performance of his career.

Felicia's Journey is quality work for mature audiences.

Egoyan has disappointed me many previous times, although his "Next of Kin" remains one of my all-time favorite films. Not in a thousand years would I have expected a film like this from Egoyan. We've left Canada, for god's sake; a lovely country, some very talented and multi-talented people there, especially most -- it often seems to me -- of Hollywood's greatest actors and actresses. But to travel across the Atlantic -- Egoyan hasn't done that before. And this plot is character-driven (like "Next of Kin") -- and not always shouting at you "Hey, I'm a strange and brilliant director presenting all this odd stuff for you." Egoyan's penchant for films within films and pictures within pictures and other eccentricities don't distract,this time -- they remain, but much diminished, muted. And it works. Tremendously well, in fact. Families -- that's what Egoyan does best, what he knows most deeply -- how wonderful it is when they work, how deeply we need their sustenance. But how terrible, cruel, sometimes funny, but more often monstrous the effects parents have on their children in so many cases. Hoskins has been so great, so often before, can it really be surprising he's especially excellent here? A fine film; the old Peter Lorre film "M" comes to mind, his role somewhat comparable to Hoskins' here -- but many differences exist between these works. "Felicia's Journey" is amazingly beautiful to watch, idyllic at times; we see Felicia's inner and outer beauty first through our own eyes, then increasingly through Hoskins' character's odd lens. There's beautiful countryside to view. We have both hope and menace -- something slightly askew -- a spicy mix. The mundane, the commonplace are pleasantly present, but murder and madness hover very near. Entirely, hypnotically compelling; that's the best summation. And wonderful.