Connect with us

Film

Tribeca Film Festival: ‘Georgetown’ shines as Christoph Waltz’s Directorial Debut

It’s little surprise that the directorial debut of Christoph Waltz, star of films like Inglorious Basterds and Django Unchained, would center around the story of a masterful and complicated psychopath. Georgetown tells the story of the marriage between Ulrich Mott (Waltz) and Elise Brecht (Vanessa Redgrave), based on the 2012 New York Times article “The Worst Marriage in Georgetown.”

Ulrich is a skilled, eccentric social climber who woos a successful journalist named Elise, forty years his senior, into marriage shortly after the death of her husband. Amanda (Annette Benning) is the only one in Elise’s circle immune to Mott’s charm, but this is not much good to her against a player as masterful as Ulrich. Complicating matters is Elise herself, who quickly proves her proclamation to Amanda that she wasn’t born yesterday. Seeing thru Ulrich’s calculated usefulness, she decides to put him to use for her own gains in acts of political genius; he is her shameless, enthusiastic pawn. What follows is a marriage of two formidable players — immigrants who understand a thing or two about survival — bound together through the complications of having to remake themselves in a new country.

However, one underestimates the lengths the other will go to avoid being called an idiot. Both legendary actors, Waltz and Redgrave make a very terrible marriage wildly entertaining to watch, without sacrificing the depth of danger they are both in. Annette Benning is excellent as a gravitational force that pierces each scene with the sobriety of impending, unavoidable tragedy.

Waltz has the rare ability to defy type-casting while deeply exploring a similar kind of guy: the wolf in sheep’s clothing — or said another way, the man who believes in the right to his own lies. Like his scene-stealing characters, the director seduces the audience into a dazzling, dizzying world that makes it easy to see why his psychopaths are so successful. This movie is a lot of fun, unapologetically very smart, and very dark. The wolfish, gleeful fun Waltz brings to his performances is put to excellent use behind the camera; Waltz knows how to entertain. On full display here is his ability to reveal with frightening precision how dangerous leaders come into power. He embodies Mott with an almost supernatural seductive power in one scene, and reveals the small frightened vulnerability that drives him in the next. He reminds us that monsters are often metaphors for real people; Mott could easily sport a set of fangs while remaining all too tragically human. Waltz delivers an impressive debut and marks himself as a director to watch. (Ivy Lofberg)

The Tribeca Film Festival runs April 24 to May 5. Visit the official website for more details.

Written By

Click to comment

Leave a Reply

Your email address will not be published.

Facebook

Trending

Queer As Folk 1999 retrospective Queer As Folk 1999 retrospective

Queer As Folk – A Cultural Milestone

TV

Stranger Things Season 4, Chapter 4 "Dear Billy" Review Stranger Things Season 4, Chapter 4 "Dear Billy" Review

Stranger Things Hits a Terrifying Home Run with “Chapter 4: Dear Billy”

TV

John Carpenter's The Thing 1984 movie retrospective John Carpenter's The Thing 1984 movie retrospective

Ambiguity Makes for Better Horror in 1982’s The Thing

Film

The Witch: Part 2. The Other One The Witch: Part 2. The Other One

The Witch: Part 2. The Other One is a Disappointing Genre Hybrid

Culture

Web of Make Believe review Web of Make Believe review

Netflix’s The Web of Make Believe Gets Off to a Scary Start 

TV

Stranger Things Season 4, Chapter 6 "The Dive" Stranger Things Season 4, Chapter 6 "The Dive"

Stranger Things Scrapes the Bottom with “Chapter 6: The Dive”

TV

Top Gun: Maverick Top Gun: Maverick

Top Gun: Maverick is Franchise Filmmaking at its Best

Film

Jurassic World Dominion - Tilt Jurassic World Dominion - Tilt

Jurassic World Dominion Misunderstands the Entire Franchise’s Allure

Film

Stranger Things Season 4, Chapter 1 “The Hellfire Club” Review Stranger Things Season 4, Chapter 1 “The Hellfire Club” Review

Stranger Things Returns with the Dark, Lumbering “Chapter 1: The Hellfire Club”

TV

Stranger Things Season 4 Chapter Two: Vecna's Curse Stranger Things Season 4 Chapter Two: Vecna's Curse

“Chapter 2: Vecna’s Curse” Is Both Too Much and Not Enough for Stranger Things

TV

RRR RRR

RRR Delivers Infectious Charm and Unparalleled Action

Film

Stranger Things Catches Its Breath with “Chapter 5: The Nina Project”

TV

The Interceptor The Interceptor

Netflix’s The Interceptor is Sunk by Laziness

Culture

Stranger Things Screeches To a Halt with “Chapter 7: The Massacre at Hawkins Lab”

TV

The Wilds vs. Yellowjackets: Which is Better? The Wilds vs. Yellowjackets: Which is Better?

The Wilds vs. Yellowjackets— Which is Better?

TV

Rutger Hauer Rutger Hauer

Blade Runner and the Particular Qualities that Noir Fans Can Appreciate

Friday Film Noir

Connect