Review: ‘Disclaimer’ stars Cate Blanchett in a revenge story filled with hidden truths

As a seasoned cinephile with over three decades of film-watching under my belt, I must admit that “Disclaimer” has left me both intrigued and perplexed. The series, much like a Rube Goldberg machine, is a complex tapestry of narrative layers, stylistic choices, and emotional turmoil that keeps one guessing until the very end.

In the upcoming Apple TV+ series “Disclaimer,” Cate Blanchett portrays Catherine Ravenscroft, a renowned documentary filmmaker, who is married to Robert (Sacha Baron Cohen), a consultant for non-governmental organizations. Their son, Nicholas (Kodi Smit-McPhee), is 25 years old and resides with them. He works in a department store selling appliances, and appears to be struggling to live up to the high standards set by his accomplished parents.

At the award ceremony, Christiane Amanpour (in person) commends Catherine for producing films that penetrate “narratives and structures that often conceal underlying truths.” However, it’s worth noting that Alfonso Cuarón, the creator and director, skillfully employs narratives and forms to unveil hidden truths, rather than obscuring them. It’s important to understand that you can’t completely avoid narrative and form, not even in documentaries.

On one occasion, a parcel arrives labeled for Catherine, inside which lies a novel written under a false name. The book’s introduction states that any similarities between the storyline and real life are deliberate. Upon opening it, she quickly identifies (with a sudden, eerie transition to a series of unsettling scenes) that the lead character is none other than herself.

In this book, we’ve previously encountered, was penned posthumously by Nancy Brigstocke (Lesley Manville), a document that her husband Stephen (Kevin Kline), an English teacher feeling disillusioned with his job, life, and contemporary society, stumbled upon years after her demise. Written in secrecy by Nancy during her self-imposed isolation following the death of their son Jonathan (Louis Partridge) 20 years earlier, the narrative claims to recount the tale of Jonathan’s seduction by Catherine and his tragic drowning while saving Nicholas, then age 5, during a vacation in Italy. The authenticity of the text appears strengthened by the discovery of a collection of explicit photographs found alongside the manuscript.

Kevin Kline plays both young and old Stephen Brigstocke in “Disclaimer.” (Apple)

Lesley Manville as Nancy Brigstocke, who writes a book that’s central to the series. (Apple)

Inspired by a friend, Stephen decides to self-publish a book, using it as a tool for retribution; this isn’t so much about the loss of his distant son, but rather the devastation it caused his cherished wife, whose voice is still heard on their answering machine. Thus, he embarks on a mission to inflict pain upon Catherine.

The story begins with Jonathan, spending his vacation in Venice with Sasha (played by Liv Hill). However, it’s unclear if this is the present or a flashback since Sasha abruptly leaves, leaving Jonathan vulnerable. This sets the stage for an older version of Catherine (portrayed by Leila George), who pursues him in ways that might seem over-the-top and implausible, like something from an adult magazine. The use of silent-era visual effects such as iris ins and outs, along with narrative shifts between characters and an omniscient narrator, hints at the film’s unconventional nature. This creates a sense of unreliability, yet we are advised to accept everything on screen until told otherwise. In essence, “Disclaimer” plays with your perceptions.

Despite the fact that even casual viewers might question the details of “The Perfect Stranger,” the novel within the story, which is portrayed as established truth by other characters but contains things that Nancy couldn’t have known, a little reflection would have spared everyone a lot of confusion. However, stirring up confusion seems to be more the aim, as we learn from the storyline involving Stephen catfishing Nicholas – it doesn’t take much to create a fuss. But avoiding trouble isn’t the goal here.

The series is beautiful to behold, from first to last; Emmanuel Lubezki, Cuarón’s cinematographer on “Children of Men” and “Gravity,” and Bruno Delbonnel (“Amélie,” “Inside Llewyn Davis”) share the credit as directors of cinematography. And one can’t argue with the cast. It’s great to see Kline, who rarely appears onscreen these days, as both the older and younger Stephen — an out-of-time sad sack who sparks at having this new project, dedicating himself to it with a relish that more than borders on crazy. Manville, who seems to appear in every third series out of England, with good reason, makes her usual gourmet meal out of Nancy. And Blanchett, not surprisingly, stands up well to these forms and narrative distractions, though she is especially fine when asked to fall apart.

Alfonso Cuarón, known for “Gravity” and “Roma”, is one of the most acclaimed filmmakers of this century. His latest work, “Disclaimer,” is rich in cinematic techniques, subtly changing its style to reflect varying perspectives and realities. However, it may seem somewhat pretentious with its Roman numeral chapter titles, anxious close-ups, and heavy voiceovers. For instance, the narrative explores themes of loss, delving into the speaker’s nostalgia for their childhood, their own child’s youth, their mother’s resilience, and the conviction that they had taken in her strength. The speaker acknowledges their mother’s name as Helen, understanding that she must have endured sorrow, isolation, and pain. Yet, these experiences remain abstract to them because for the speaker, Helen has always been Mom.

Although it may initially appear complex due to its blend of truth and deception, the film “Disclaimer” can be seen as a straightforward revenge story. However, whether the revenge is justified is a key debate within the intricate narrative, making some characters seem like pieces in a game rather than relatable individuals. Despite strong performances, this can be challenging for viewers to connect with them emotionally. A powerful monologue delivered by Blanchett late in the movie is an impressive display of acting that helps clarify matters significantly. Additionally, Cuarón’s artistic techniques become more understandable upon reflection, but a brief ending scene adds another layer of complexity. This final segment could be interpreted as a tribute to mothers and sons, a critique on storytelling, or simply the last trick in a series that enjoys such twists. I am still pondering its true intent.

Read More

• TOMI PREDICTION. TOMI cryptocurrency
• PWR PREDICTION. PWR cryptocurrency
• BAG PREDICTION. BAG cryptocurrency
• Brent Oil Forecast
• VET PREDICTION. VET cryptocurrency
• DODO PREDICTION. DODO cryptocurrency
• BRICK PREDICTION. BRICK cryptocurrency
• ALD PREDICTION. ALD cryptocurrency
• BRWL PREDICTION. BRWL cryptocurrency
• WINS PREDICTION. WINS cryptocurrency

2024-10-10 13:34