The Cook, the Thief, His Wife & Her Lover (1989) Reviews

• Recipe for Revenge.

  nycritic2005-11-05

  Peter Greenaway brought to the screen this visually striking tale of revenge centered on its four characters and in its 124 minutes he pulls out all the stops to make sure he not only dances over the edge of the cliff, but jumps right over and shows us the belly of the beast. At a symbolic level, this may very well be the "thinly veiled parable against Thatcherism" that many critics have pointed at, and it's not hard to see. Taking place at a restaurant in which Albert and Georgina Spica (expertly played by Michael Gambon and Helen Mirren) dine day in, day out, always accompanied by Spica's entourage of yes-men (among them a young Tim Roth), Albert indulges in the excesses of food and berates everyone around him, including his mutely suffering wife. The first scene -- as a matter of fact -- establishes the entire mood of the film. Albert Spica is seen outrageously humiliating a naked man outside the restaurant as the overwhelming stench of decay and the presence of wild dogs linger on. Employees from the restaurant shortly come and hose the man from the excrement he has been slathered in. What it is saying is, we are entering a world of moral and spiritual decay in which Those In Power abuse their positions to the extreme, as the observers only stand by and go on with their business. These bystanders are the people who work at the restaurant. Among them is the Cook, played by Richard Bohringer, who faithfully serves Spica and his yes-men meal after meal and makes no opinion as they loudly banter about the difference between this dish and that dish -- essentially saying nothing worthwhile --, while all the time Georgina silently eats on, almost like a non-entity. That is, until she notices a quiet, intellectual-looking man, reading a book. This man is Michael, the Lover, played by Alan Howard, a man who does not talk but oozes intelligence. And it's this element which attracts Georgina's eye... and then more. It's clear where Peter Greenaway is going to take us, the viewer. The scenes involving the urgent, dangerous lovemaking between Michael and Georgina are unspeakably intense, even in later scenes when they meet in the kitchen among the ever-present cooks and are getting more comfortable with themselves. Greenway's Spica becomes so completely menacing his presence overflows the screen. He commits acts of intolerable cruelty against anyone who stands in his way -- he is the Terror during the French Revolution, the Dictator from every country who has had one who will torture those who give of even a slight resistance. And once Georgina's and Michael's clandestine affair is brought to light, needless to say, all hell breaks loose and Greenway sets the stage for his horrific, stomach-turning denouement. In Georgina, Helen Mirren has created a character that is deeply suffering, infinitely patient... and that makes her the more dangerous. That she has to go through so much pain and humiliation to make a 180 degree turn to cold, ruthless avenger makes her the ultimate heroine. Her foil to Albert -- an essentially one-note role -- also serves his undoing. Alan Howard communicates so much as well in his almost silent role, and in a revelatory note, I'll say this: their nude scene is one that is rife in sensuality and proves that one doesn't need Hollywood hard-bodies to make an erotic scene work. THE COOK, THE THIEF, HIS WIFE AND HER LOVER is not a movie for all tastes -- pun intended. However, it's one of the most avant-garde, intelligent stories that demands to be seen numerous times. I admire the lavish scenery Greenaway created for each area of the restaurant because it gives this extremely modern film a Renaissance feel and elevates its inherent symbolism. Grotesque but beautiful at the same time, it has a powerful cinematic language that has a style all its own.

• Color changes everything!

  Maurice_Rodney1999-05-05

  The "inside story" of this film is color. Most professional reviewers, with nation-wide media exposure, missed this underlying story element entirely, as did I, until half way through my first viewing. Once I realized the colors of the costumes changed, as the characters passed from room to room, I had to go back and see it again. That's how I got hooked. During the next viewing, I took note of the creativity and effort that went into the design and construction of the costumes, several times, as each one had to be rendered in several colors. The next time through, I noticed how the color of each room related to the activity that normally took place there, even in the outdoor sequences. With the subsequent viewing, I concentrated on the soundtrack. From that point on, my awareness of all these elements, served to enhance my appreciation of each character and his or her contribution to the story line. That's when the much talked about "gross-out" aspects of the film seemed to diminish in their ability to shock. In fact, by that point, they seemed to fit much more naturally, although the "NC-17" rating is absolutely appropriate. This is a sumptuous feast for the eyes and ears of intelligent "adult" viewers. Not to be missed.

• An unforgettable piece of total cinema

  onionhasayoyo2007-11-07

  First of all, I have to say that this film is one of my personal favorites, and that it is one of those things one must see during his or her lifetime. Truthfully, however, I first got into this film after hearing clips of the soundtrack on the Japanese version of Iron Chef, during a time before it was acquired by the Food Network. This film score, composed by the great post-minimalist Michael Nyman, is still one of the most haunting and soul-stirring scores in my opinion, if not the one of the most impressionable bodies of musical work ever. I still listen to the album on a weekly basis - it gets under your skin that way. The film itself is a piece of total art, as others have said. The sets are saturated with their singular color schemes (blue for the restaurant's exterior, green for the kitchen, white for the restrooms, and red for the main dining hall) , and people who have any sort of artistic training have valued and will continue to value this film as a character study of color. In this present age where most films present their interpretations of visual thrill through costly CG and SFX technologies, this film is a testament to how color can be a driving influence behind effective set design and cinematography. The principal actors, including the always amazing Helen Mirren and Michael Gambon, are first rate. Helen Mirren's Georgina is a truly heart-wrenching character, especially in the face of Gambon's portrayal of Albert Spica, a poor excuse for a human being and one of cinema's cruelest villains. The cook and lover are merely catalysts, serving to instigate the final act that is the undoing of Albert's overreaching tyranny. I suppose the anti-Thatcher sentiment is highly applicable to this film, but since I am not a British citizen, I feel that I cannot comment on this. However, I think the film's allegory can also be applied to other scenarios where a brutish figure uses violence and exploitation as a way to control others whose primary fault is only residing in the same physical/social/legal domain as the brute. In short, a masterpiece.

• The Divine Comedy

  Minerva_Meybridge2001-03-22

  Imagine the universe as a restaurant. The parking lot is the world. The kitchen is purgatory. The ladies's room is heaven. The dining room is hell. Hell is ruled over by Albert Spica, (Satan) excellently played by Michael Gobon. Dante is Michael (Alan Howard) a cataloger of French books. Beatrice, Dante's perfect woman, Georgina Spica (Helen Mirren) who is married to the devil. In the beginning, the cook (God) in the real world is seen kicked and smeared and fed dog feces by Gabon. He is humiliated and in tears, but He endures and eventually helps to further the love between Howard and MIrren. Sex, in its pure form, is looked at as something sacred. Gabon lords over everyone in his realm with a tyrant's fist, caring nothing about anyone or anything. He wants two three things out of life—superiority to all other being, food and sex, while Mirren, as a reluctant Persephone, sneaks off to be with Howard. A couple of times Gabon even finds his way into the sanctity of heaven, but this is only short-lived. The mood of the film is dark-black, heralded by brilliant reds or greens, and the tenor of an angelic child throughout. Every image is like a painting. Emotions creep in from all directions. This is a film that would never, no matter what year it was produced, have won an Academy Award. It is too refined, to subtle, too sensual, too intelligent. Watch it, rent it, buy it. It must be seen.

• Just don't watch it before you eat a roast lunch (very mild spoilers)

  Jagged-112004-02-26

  One can probably assume from the film 'The Cook, the thief his wife and her lover' that director Peter Greenaway has a rather warped view of humanity; he is nihilistic about society's future, abhorrent of Thatcher's regime and furiously condescending of the entrepreneurial upper classes and their exploitation of the workers. This anger manifests itself in the shocking scenes of violence and depravity contained in the film, which earned the film an X certificate back in 1989 and (surprisingly) resulted in the film reaching a larger audience than anyone anticipated (the film grossed over $7 million in the USA) and proved that there is more weight to the old adage 'no publicity is bad publicity' than one might expect. However it should not be forgotten that the film received almost unanimously euphoric reviews from film critics (or at least from those that didn't flee from the cinema) and is indeed one of the most brilliant, visceral, imaginative and unique pieces of cinema. It's not for all tastes, but those who can stomach it will be rewarded with a slice of delectable cinematic cuisine of the highest order. The film's central locale is 'Le Hollondais', a restaurant of the most impeccable quality in every aspect. Night after night the restaurant is attended not only by an assortment of wealthy and decadent noveau riche, but also by low-level gangster Albert Spica (Michael Gambon) accompanied by his tormented wife Georgina (Helen Mirren) and a consortium of pimps, hit-men and psychopaths. Each evening Albert treats the dining area of the restaurant like his court, spewing out vile speeches of ignorance and bigotry, making unqualified criticisms of the cuisine and assaulting any of the other diners if they object to his hog-like behaviour. The chef (Richard Bohringer) despises Albert, but presents a façade of obedience and servitude to avoid any maltreatment from Albert and his cronies (much like the other dining guests, who exhibit remarkable patience with the revolting Albert). Georgina seems resigned to marital martyrdom, but also sees the ridiculousness of Albert's arrogance and pomposity (though she rarely contradicts him, he hits her with the exquisitely calligraphic menu when she does). However, one night her eyes meet Michael's (Alan Howard), an intellectual who sits quietly in the corner of the restaurant, delicately eating his meal whilst engrossed in his book, seemingly oblivious to Albert's loud displays of crudeness. Lightning (proverbially) strikes and with little hesitation the two make for the Ladies toilet, where they engage in a passionate tryst in one of the cubicles. And thus the cycle begins; each night Albert continues his rants and consumption of excessive amounts of food, whilst the cook assists Georgina in finding hiding places for her and Michael to make love. However the naturally distrustful Albert soon realises he is a cuckold and orders that lover be killed by having each page of his book thrust down his throat with a sharp spindle. Georgina, however, is able to turn the tables on Albert, which leads to the films shocking denouement where the thief receives his just desserts in a manner best described as poetic justice. So what is the film about? Is it a darkly humorous political satire on our materialistic times? Is it exploitative pornography coupled with scenes of unnecessary brutality? Or is it simply a story about a cook, a thief his wife and her lover? This is not an easy question to answer; the film's political undercurrents are intentionally enigmatic and vague, Greenaway certainly isn't handing us the answers on a silver platter (in interviews he refuses to talk about his film's subliminal meanings) and we are left to our own devices to discern the films message (if indeed it possesses one). Whilst one could simply accept the film as an updated Jacobean tragedy mingled with the savagery of a Charles Bronson revenge flick, this would rob the film of its allegorical significance, which the film most certainly possesses (in a strangely subversive way). I personally tend towards the argument that 'The Cook the thief his wife and her lover' is Greenaway's manifesto for his disgust at Britain's social hierarchy; the excesses of the wealthy, their subjugation of the workers and their insatiable desire for (as Dickens's Oliver would put it) 'more'. The quartet of main actors give performances of uninhibited power; they must metaphorically (and in the case of Helen Mirren and Michael Howard, literally) bare all. Each inhabits their character perfectly; the dour, soft spoken Richard, who subversively undermines Albert's authority by assisting Georgina in her sexual caprices, is played with model restraint and calm by Richard Bohringer (although his thick French accent is sometimes hard to comprehend). The part of Lover is less straightforward (he says nothing for the film's first 40 minutes) but Michael Howard acquits himself well to a rather limited role, the real tour de force performances, however, are delivered by Mirren and Gambon. Georgina's transformation from abused wife, to daring lover, to seeker of vengeance is perfectly portrayed by Mirren, she is the film's defiant heroine and earns our sympathies for her desperate plight. As Roger Ebert surmised so aptly 'Gambon plays Albert as the kind of bully you can only look at in wonder, that God does not strike him dead' he is the epitome of excess (gastronomically, egotistically, financially etc.) and lacks any redeeming features, but Gambon also has the talent to give a performance that makes us realise what a pathetic and (surprisingly) vulnerable character he is (though he's still utterly loathsome). Upon its release many saw the film as a political allegory with the thief representing the tyrannical Thatcher, who subjugates the dutiful workers (the cook) whilst ruining Britannia (the wife). This behaviour is all ineffectually opposed by left wing intellectuals (the lover). Whether or not this is true, indeed whether or not you love or loathe this film, it is a powerful experience that will linger with you for quite some time. My Score: 9 out of 10