Holy Smoke!

One wonders what motivates Ms Campion. Like Spike Lee, she seems to have one thing to say, and somehow believes that film is the right place. Well, never mind. In this particular film, she has reached me.

For film to be good, it has to place me where I would not go, and change me. This time, I was swept up in this seemingly simple drama: the wilds, unknown motives, undirected ideals, misplaced trust. The images were unique, and the acting superb. I saw Kate in Hamlet and wondered if this was the same woman I had seen in Titanic. Her Ophelia, a challenge for anyone, was delicately layered. I'll be interested in watching her grow. Somewhat gratifying to see someone without a Barbie figure being sexy.

What worries me is how Campion had to make the whole rest of the world comically surreal in order to focus on her duo. She controls this part, and then lets the central drama run wild. I think she really was beyond her limits with this central drama, but that's what makes it genuine. "Portrait of a Lady" suffered from too much control -- here she shifts that control to the ludicrous aussie family, and lets the central drama roam.

Kate understands that she is not acting a character, but a belief system, or rather a belief in belief systems. We saw that in Ophelia and I'm sure that's why she was picked here. Keitel's defeat is an exposure of Christianity. But poor Harvey is a plain old (excellent) actor who just becomes his character. I'm sure he had no understanding that he was to "symbolize" something, and so while he connects with Winslow, he doesn't with Campion's vision.

Some symbols were unwelcome by me, because they were so deliberately placed: the pee, the reindeer-car, the koala bear...

So a little out of control, tarted up with post-feminist pretentiousness, and one of the performances excellent, but a near miss. So what? Do you want intellectual adventure, served visually or not?

Kate Winslet plays Ruth Barron, a young Australian woman who goes to India and becomes smitten with the touch of a charismatic guru, so much so that she changes her name and forsakes her family to stay in India and attend to and worship the guru. Her parents become alarmed. Her mother goes to India to trick her into coming back to Australia so that she can be deprogrammed by a professional from the United States that they have hired (P.J. Waters as played by Harvey Keitel).

What director Jane Campion does with this once familiar theme is most interesting. She puts the deprogrammer to the test, so to speak, and initiates a struggle of will between the deprogrammer and his young charge. The key scene arrives as Ruth comes naked into P.J.'s arms in order to test his professionalism (and her sexual power). I don't know about you but I think a naked and passionate Kate Winslet would test any man's motivation and make him think twice about what he really wants to do.

The psychological idea behind the story is this question, What is the nature of the guru's hold on his flock? Is it spiritual or is it profane? Do the young women who follow him desire him as an alpha male or is it spiritual deliverance they seek? Naturally Ruth believes the latter and the deprogrammer the former. But what is the deprogammer's motivation? Is this just a job for him or does he feel he is helping to free his clients from some kind of mental slavery? Or is he just another sort of phony guru himself? Keitel in black hair and black moustache and devil's mini goatee dressed in black with a menacing look and a lot of physical energy (despite being 60-years-old when this film was released) contrasts sharply with Winslet's youthful beauty and beguiling voluptuousness. Strength of character is something Kate Winslet brings to any role, even including her outstanding performance as Ophelia in Kenneth Branagh's Hamlet (1996), a role that is usually played wiltingly. Here one senses that her strong will and determination are going to be quite a match for the deprogrammer who gives himself three days alone with her to break her attachment to the guru.

Two questions: One, if he is successful, will that just mean that she has transferred her allegiance from the Indian guru to him? Will it mean that his psychological strength is greater than that of the guru in far-off India? Two, in what respect is such a forced confinement with someone who is in physical control going to lead to a variant of the "Stockholm syndrome" experienced by some women held hostage, e.g., flight attendants on hijacked planes, and the famous case of Patty Hearst? Will the captive become enamored of her captor? Campion handles this most interesting theme by focusing on the sexual and carnal nature of the relationships. The test of will between P.J. and Ruth becomes a question of Can she seduce him and thereby strip him of his professionalism? The movie is candid about sex and sexuality in a way that emphasizes the power dynamics of sexual relationships. There is some full frontal nudity and the sex scenes are steamy beyond what one usually sees in an R-rated film. (If seeing Kate Winslet naked might offend you, I recommend you close your eyes.) Harvey Keitel did an outstanding job in a very demanding role and was entirely convincing (despite being a little too old for the part); but as usual Kate Winslet completely took over the film with her commanding countenance, her superior acting skills, her great concentration and her mesmerizing charisma. If there is a better, more captivating young actress working today, I don't know who she is.

Her role here might be compared with her performance in Hideous Kinky (1998) in which she goes to Morocco to find enlightenment among the Sufis. That is a more charming film, and she is outstanding, but this one gives greater range to her skills.

Notable (and watchable!) as a counterpoint to Winslet's Ruth is sexy and sleazy Sophie Lee as Yvonne who is so taken with P.J. that she fairly begs him to make love to her. Also impressive is Julie Hamilton as the woebegone and stumbling mother.

Of course I would say see this for Kate Winslet, and if you are a fan, you sure don't want to miss Holy Smoke since it includes one of her best performances; however, what really impressed me is the original and daring conception and direction by Jane Campion who is best known for The Piano (1993), a film that received an Oscar nomination for the best direction and starred Holly Hunter, Harvey Keitel and Sam Neill.

So see this for Jane Campion who is not afraid to show human nature in the raw.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

This film is highly misunderstood. Reading some of the reviews I found it hard to believe they were related to the film I'd just seen. This is so much more than a battle of the sexes, it covers lots of ground: boundary in therapy, the legitimacy of mystical experience, the complexities of family dysfunction, the ingenuity of the human spirit when heart and individuality are threatened. I regret that many viewers and reviews seem to have seen the humorous aspect of the film as an indication that the film's themes are lacking in substance. This is a worthy film. I regret that it's not getting its due.

Bizarre. Fascinating. Flawed. Out of control. Definitely not ordinary. I can use all those expressions to show what I feel about "Holy Smoke", but I think they are not enough to express all my mixed feelings about it. This is not an easy film to watch and more difficult than that to review, but I can say that its qualities overcome the majority of its flaws.

"Holy Smoke" is a story about two totally different people. Ruth is a young Australian woman who travels to India and there starts to take part in a cult, getting fascinated with it. Her family starts to get worried about that and contracts PJ Waters, the other face of the coin, to make Ruth forgets her new beliefs and return to a normal life. They will spent some very unusual days in a hut on the desert, where we don't know who is in charge of the situation. Jane Campion writes and directs this weird and tense story with a wonderful passion. She tries to escape from all the clichés and succeeds in. There are some other stories of Ruth's weird family: her gay brother, her nymphomaniac sister-in-law, her ingenuous mother. This is the humorous part of the film, where you'll see even a sheep serving as a table at Ruth's house. But, strangely, "Holy Smoke" didn't feel as a dramatic comedy. It's one of those pictures that you can't define the genre with sure.

All the qualities and flaws of "Holy Smoke" come from the directing and the writing. There are some slow moments, exaggerated situations, some out of places scenes which could have been easily deleted. These are the main reasons why I didn't enjoy very much Jane Campion's earlier works: the overrated "The Piano" and the tasteless "The Portrait of a Lady". But here the flaws sometimes can be forgotten because Campion explains the story better than in her other works and succeeds in captivating the audience with an interesting story, discussing subjects as sex and religion with the right tone.

The one who really shines here is Kate Winslet. Harvey Keitel is great as always, but Ms. Winslet gives us an Oscar caliber performance. She doesn't have problem in appearing naked, sing, dress Keitel with a red dress and say what she thinks. I'm sure that her performance won't disappear in smoke, at least for me.

"Holy Smoke" was very criticized and snubbed, but it deserves a second chance. I agree that it is flawed and obviously not for everyone. But watch it with patience, pay attention at the subliminal messages, have some fun and think a little. It is worth the price of the ticket.

Most of Jane Campion's films make me uncomfortable. This one was no exception. But I liked it. And it has grown on me.

Having investigated eastern philosophy and western mysticism for years, I appreciate Jane Campion's competency in dealing with themes of a metaphysical nature. I was stunned by her use of metaphor in "The Piano," a constant returning to the place of origination, the synergy of yin and yang, the veil of illusion, and the mystery of expression ("the word").

Holy Smoke is more direct in its approach, but effective in exploring themes of power and love as both intimate and universal life forces. As usual, Campion approaches her subjects with an unflinching, but sympathetic, eye.

I am always nearly a fan of Campion's production values: I love the saturated, dark colors, the carefully contrived shots, the whimsical and sparing use of special effects and humor, and typically incredible casting.

While appealing on an aesthetic level, what appeals to me most about "Holy Smoke" is that it deals with some of my favorite themes: the illusory nature of "reality," the vulnerability, and power, of the human mind, and heart, and the sometimes shocking, sometimes humorous ways that we learn from the wisdom of the universe.

In "Holy Smoke," when I saw PJ Waters get off the plane to the sound of Neil Diamond singing "I am I said... I am I cried," I took notice, and became expectant of a punch line somewhere down the road.

This film could be called flawed, and is definitely not for everyone, but I come away from it feeling empowered, humbled, and amused--and appreciative of the sensitive, creative, adventurous spirits who made it.

PJ Waters is retained as an expert to de-program Ruth, but the Universe has other plans in mind... I love it.