In our “woke” times it is becoming increasingly difficult to imagine Hollywood film dealing with May-December romances, especially those that feature older man and younger woman. It is even more difficult to imagine such films being hailed by critics. Few decades ago it wasn’t case and the insight to those different times can be given by Guinevere, 1999 film written and directed by Audrey Wells.
Protagonist, played by Sarah Polley, is Harper Sloane, 21-year old daughter of two successful Los Angeles lawyers. Parents expect her to continue with family tradition and study at Harvard Law School. Harper, however, doesn’t feel any inclination towards legal profession and instead yearns for making her own path in life. The opportunity comes at the wedding of her sister Susan (played by Emily Proctor) during which she meets charming middle-aged photographer Connie Fitzpatrick (played by Stephen Rea). He is deeply impressed with her rebellious attitude which appears to be corresponding with his bohemian lifestyle. He offers to become her mentor that would unlock her artistic potentials. Harper, nicknamed “Guinevere” by Connie, moves into his studio and their relationship gradually turns into romance. The idyll doesn’t last long because Harper discovers Connie’s increasing inclinations towards hard drinking as well as many other “Guineveres” from his past.
Guinevere was the directorial debut for Audrey Wells, until that time best known for her script for romantic comedy The Truth About Cats and Dogs. Her film premiered at Sundance and received good reviews from critics, many of whom liked the way she handled the issue of age difference in romantic relationship from female perspective. Guinevere depicts such romance realistically, without Hollywood sugar Icoating or sanctimonious moralising. In doing so, she got strong support from Sarah Polley, young and talented Canadian actress who took a lot courage and invested great energy into complex and thankless role. Her scenes with Stephen Rea are quite convincing and lack the usual Hollywood corniness. Supporting cast is also very good, especially Jean Smart that shines in the role of Harper’s mother during the scene which she confronts her daughter with devastating results. Wells, however, near the end succumbs to Hollywood cliches and final scenes are too sentimental. Great talent of Sarah Polley, who would later become accomplished film maker, as well as mature dealing with potentially dangerous subject, provide more than enough reasons for Guinevere to be recommended for viewing.
RATING: 7/10 (+++)
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