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LA FEMME NIKITA (1990)
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INSIDIOUS (PG-13)
Water for Elephants is a tall drink of tepid
WATER FOR ELEPHANTS: Directed by
Francis Lawrence. Screenplay by Richard
LaGravenese, based on the novel by Sara
Gruen. Cinematography, Rodrigo Prieto.
Editor, Alan Edward Bell. Music, James
Newton Howard. Starring Reese Witherspoon,
Robert Pattinson, Christoph Waltz, Paul
Schneider and Hal Holbrook. 20th Century
Fox, 2011. PG-13. 122 minutes.
F
orget the relative comforts of the
movie theater. Water for Elephants
is a movie for watching while
sprawled on the sofa, slightly hungover (if
you’re inclined that way) on a rainy Sunday
afternoon. It’s one of those movies: It looks
nice, and it’s smart enough to keep your
attention, but it falls short of outstanding, or
even “very good.” It just is.
A large part of the blame for this lies
squarely with the casting. There’s nothing
to complain about in Christoph Waltz’s turn
as the mercurial, self-centered August, who
runs the Benzini Brothers Circus, though I
wonder if Waltz looks forward to the day
he’s cast as the nice doctor or some other
non-quietly-menacing fellow. But you’ll
spot no sparks between Reese Witherspoon
and Robert “RPattz” Pattinson, playing,
respectively, August’s wife and the circus
train’s latest stowaway, Jacob Jankowski,
who’s taken to the rails after a tragedy.
Jacob’s story makes little sense if
you apply the tiniest bit of logic to it;
for that matter, a few key plot points in
the fi lm suffer from what I imagine is a
certain condensation from Sara Gruen’s
novel. Coincidence that works in print
often comes off as contrivance on the
screen. Even if the convenience of Jacob
hopping a circus train right after leaving
veterinary school — thereby guaranteeing
he can make himself useful by tending
to the animals — can be forgiven, a later
coincidence involving a balky elephant is
still a bit much to swallow.
RPattz holds down the middle of the
fi lm like a drummer who only knows one
beat but knows it very, very well: steady,
gentle and reliable. He’s plenty good at
staring smolderingly at Witherspoon’s
Marlena — a talent he likely perfected
while starring as Edward Cullen in the
Twilight fl icks — but neither Pattinson nor
Richard LaGravenese’s script can come up
with a reason for these two pretty young
people to fall in love (other than that
they’re pretty and young, and August is a
fi rst-class jerk).
Water for Elephants fares better with
the ugly truth behind the circus’ magical
façade. Without ever forcing a character to
come out and say so, the story emphasizes
how much pain and ugliness goes on
behind the scenes in order to concoct an
afternoon’s entertainment — and suggests
that none of this cruelty is necessary. The
performance scenes glow, full of smiling
faces, elegant trapeze artists and graceful
steeds. But one of the horses is hurting, and
the ringmaster doesn’t care.
Jacob
Jankowski
cares.
Jacob
Jankowski cares, and does the right thing,
and wants to save the pretty girl (who
might be a more interesting character if
she were to even nod toward maybe saving
herself) and give the lions a better dinner.
Water for Elephants dreams of being an
old-fashioned spectacle, a love story with
an unusual setting and a lot of excuses to
linger on costumes and trains. Beautifully
shot (by Babel cinematographer Rodrigo
Prieto), over-gushingly scored (by The
Dark Knight composer James Newton
Howard) and guided by director Francis
Lawrence (Constantine) with a calm but
uninspired hand, the fi lm coasts along
steadily, hitting its marks but never doing
more than it needs to. It does, however,
make me want to read Gruen’s novel,
maybe on a rainy Sunday afternoon. ew
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