MISS JULIE: Good For Some, Hard For Others

Known as an early work of naturalism, Miss Julie is a story of a Baron’s daughter who makes advances toward her family’s valet, Jean. One midsummer’s eve, tensions escalate between three characters: Miss Julie, Jean, and his fiance, Christine. The tragedy and despair of this incisive tale depends on its actors and could cripple the entire film if hampered with careening performances. Liv Ullmann‘s film is comprised of three actors: Colin Farrel, Jessica Chastain, and Samantha Morton. The leadership is exquisite, with first-rate performances from all three cast members.

Three Great Actors – Three Great Performances

As the titular character, Jessica Chastain is given an opportunity to express her superb talents as an actress to the fullest extent, and she goes above and beyond. Colin Farrell‘s interpretation of the Baron’s valet is precise, human, and ostensibly humble. Due to the nature of the story, which is very much focused on the relationship between Miss Julie and Jean, it’s just the nature of the narrative that will keep Jean’s fiance, Christine, as a secondary character. However, Samantha Morton‘s demurely somber presence is more significant than some other interpretations might have allowed.

This project is a great vehicle for its cast to shine; Jessica Chastain‘s energy, and Collin Ferrell‘s stern humility maintain the movie and make for some legitimately potent scenes.

Liv Ullmann – The Director

Miss Julie is a confidently realized film by screen veteran Liv Ullman. She is mainly known for her frequent collaborations with the preeminent Ingmar Bergman, whose relationship on and off screen sustained many years, yielding many great films. As a director, she demonstrates that her intention is to execute a visually eloquent rendition of a famous play, which is a refreshing anecdote to the franchise laden landscape of modern movie-going. Not to reduce Ullmann‘s status as a director by drawing the connection, but to see such a realized human drama guided by dialogue and good acting, the sum of Miss Julie echoes the masterwork of Ingmar Bergman.

The strength of the films performances and their characters distinct essence are the trademarks a director who knows how to work with actors. Liv Ullman, whose experience as a talented actress, will no doubt work with her actors to achieve the best performance possible.

Confinement and pacing

The work of Strindberg might be enough to sustain the attention of some viewers who are fans of classic theater but staying loyal to the stage might hinder the film finding a wider audience. August Strindberg – renowned Swedish playwright, novelist, and poet – drew on life experience for his realist storytelling, which might explain why Liv Ulmann would be drawn to his work. Miss Julie is refreshing in the sense that it doesn’t try to dilute or adulterate its source material, but the confinement of the limited settings might make some viewers squirm in their seats.

Based on a stage play with a cast of three, one may assume or expect this picture to be talky or slow with its two-hour plus running time. The 133 minutes might play against the better aspects of the movie, but patience for this film could also be a factor of calibrating one’s expectations. The rift between 18th-century literature and modern cinema is wide, and people shouldn’t have to readjust their assumptions when watching a movie in order to enjoy it. Miss Julie can and will have an audience, but it will be a limited audience.

Some reviews put the film in poor favor because of its limited boundaries and the heavy-handed dialog. Ironically these elements are the core concept of Strindberg‘s original work, but must one have the prerequisite knowledge of classic theater just to enjoy a movie? In this case, it helps but shouldn’t be a requirement.

Stage to Screen

Translating stories from the stage to screen has been in practice since the dawn of cinema. And as each medium progresses, art forms evolve. Modern theater is evolving on and off Broadway and the technology of film is growing so fast, movies can venture one step beyond our imagination. And yet we still have classic works of literature that are staples on both stage and screen that have sustained generations. With all these technological and narrative advancements in film, where does a film like Miss Julie really place?

Miss Julie is aesthetically pleasing if you appreciate a rendered form of cinema. Viewers who enjoy Louis Malle‘s My Dinner with Andre and Vanya on 42nd Street, or the dialogue driven works of Ingmar Bergman (Scenes from a Marriage, Winter Light, The Rite) will likely enjoy this performance-driven film. Others might find themselves anxious at the slow-burning pace. If you’re on the fence, it’s a satisfying film if you enjoy strong acting and classic literature.

Conclusion

It’s refreshing to see a movie that is built on a solid foundation of distinguished performances. Miss Julie, directed by Liv Ullmann whose only concern is delivering an honest rendition of August Strindberg, succeeds in doing just that. Achieving that might be enough for some, and could be too little for others.

Does an honest depiction of a famous 18th-century play constitute a “good movie?” Have you seen Miss Julie? What did you think? Let us know in the comments!

(top image source: Wrekin Hill Entertainment)