Few plays work well in a cinematic environment. Singular locations grow restrictive, waves of dialogue sound superfluous, and sometimes the acting (suited for the stage) is too over-the-top to take seriously. Based on the 1996 stage-play by N.J. Crisp, That Good Night ticks these off like a to-do list.
In his last performance before his death in January last year, John Hurt plays Ralph – an agèd screenwriter living opulently in Portugal with his younger wife Anna (Sofia Helin). After receiving news of a terminal illness, Ralph tries to secretly make amends with his son Michael (Max Brown) by inviting him over. But this becomes difficult, as Ralph can never find the right opportunity to tell him.
Following the curse of most theatre-to-film adaptations, That Good Night doesn’t seem to desire a filmic presence. It mostly consists of monotonously stunted shots of actors acting, as if director Eric Styles and cinematographer...
In his last performance before his death in January last year, John Hurt plays Ralph – an agèd screenwriter living opulently in Portugal with his younger wife Anna (Sofia Helin). After receiving news of a terminal illness, Ralph tries to secretly make amends with his son Michael (Max Brown) by inviting him over. But this becomes difficult, as Ralph can never find the right opportunity to tell him.
Following the curse of most theatre-to-film adaptations, That Good Night doesn’t seem to desire a filmic presence. It mostly consists of monotonously stunted shots of actors acting, as if director Eric Styles and cinematographer...
- 3/29/2018
- by Euan Franklin
- HeyUGuys.co.uk
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