My Cousin Rachel, 12A, 106 mins, BBC Films.
Starring: Sam Claflin, Rachel Weisz, Iain Glen, Holliday Grainger, Vikki Pepperdine.
Director Roger Michell, whose eclectic output ranges from culture-clash rom-com classic Notting Hill, to two sets of circumstances where strangers meeting turns deadly, in both Changing Lanes and Ian McEwan’s terrific chimera Enduring Love - the only role for me, that Daniel Craig ever suited - controversial I know! But true, I assure you.
Strangers seemingly exuding a deceptive benevolence, is a thematic strand which carries through to this latest adaptation of Daphne Du Maurier’s classic. An author who revels in suggested and suggestive subtext, the phrase: ‘reading between the lines’ has never been more vitally important. This also applies particularly here, as the dialogue is far too modern for whenever the elusive period may be. Would sniping retorts of ‘God knows’ really have been repeated as both readily and casually as they are here?
What is kept intact, is the continuous motif of sickness, poisoning, secret rendezvous by shadowy candlelight - and all-important pathetic fallacy.
Rachel Weisz plays the morally capricious Mrs. Danvers figure, the titular Rachel - under suspicion, and soon a - severely underpowered - seduction from young Philip - played stoically by Sam Claflin.
Claflin’s having a huge year thanks to being excellent here, stealing the privileged show in the Posh adaptation, the exceptional The Riot Club in 2014, and receiving rave reviews for the redeemed reporter in Their Finest - surely a nomination for the only public-voted catagory of the EE Rising Star award in February 2018 is long-overdue?
Speaking of nominations, Weisz is surely one of the earliest predictions for a statuette in awards season next year. She’s one of the most poised, precise, brilliant actresses of her generation - very underrated, a personal favourite of mine, also fantastic and similarly ‘wicked as they come’ as Evanora in 2013’s Oz, and Denial as holocaust Professor Deborah Lipschadt.
She calibrates the camera to her changing gaze magnificently here. She is by turns obliging, nervy and keen-to-please, but as soon as Michell’s frame pans ominously around staircases or dimly lit rooms where endlessly suspicions cups of something horrible are sipped and served, she switches on a sixpence to conniving and coldly manipulative. But even the increasingly desperate Rachel couldn’t stoop to murdering her husband - could she…?
Rating: * * *