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  Directed by
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  Specs
  • Widescreen 2.35:1
  • 16:9 Enhanced
  • Dual Layer (RSDL )
  Languages
  • English: Dolby Digital Stereo
  Subtitles
  • None
  Extras
  • 1 Theatrical trailer
  • 1 Cast/crew biographies - Peter Greenaway
  • 1 Filmographies - Peter Greenaway

The Cook, The Thief, His Wife and Her Lover (Shock)

Shock Records/Shock Records . R4 . COLOR . 118 mins . R . PAL

  Feature
Contract

Filmed at the Goldcrest Elstree Studios, Borehamwood, England in 1988 and released the subsequent year, The Cook, The Thief, His Wife & Her Lover marked a turning point in Welsh director Peter Greenaway’s career. Known primarily as a cerebral perfectionist with a penchant for bold visuals and brutal social commentary, Greenaway created a maelstrom of heated controversy upon the film’s release, dividing critics who either painted him as an astute visionary, or as a blatant pornographer.

Greenaway’s latter reputation is derived not so much from the high degree of sexual activity in his films, but perhaps more from the fact that The Cook, The Thief, His Wife & Her Lover received an “X” rating from the Motion Picture Association of America. Needless to say, the film’s distributor, Mirimax, protested against the classification, indignant that an art-house film could be given the same designation as a hard-core pornographic movie. The MPAA, unwilling to overrule their decision unless the film was drastically cut, had ensured that The Cook, The Thief, His Wife & Her Lover experienced reduced media coverage, advertising and theatre distribution.

Despite heavy resistance from the censors and incensed moral groups, The Cook, The Thief, His Wife & Her Lover became Greenaway’s most successful film to date, reaping $7.724 million at the US box-office.

Since its release, the film has gathered critical acclaim as an unique cinematic masterpiece and several international film awards - most notably, the Catalonian International Film Festival in Sitges, Spain, where it received the 1989 Best Actor (Michael Gambon), Best Cinematography (Sacha Vierny), and Best Director (Peter Greenaway). In 1991, The Cook, The Thief, His Wife & Her Lover was also the recipient of the prestigious Chicago Film Critics Award for Best Foreign Film.

"I’ll kill him... then I’ll eat him! "

The cook, Richard (Richard Bohringer), is the French proprietor of the Le Hollandais restaurant and an narcissistic perfectionist constantly preoccupied with the production of fine cuisine. For a master chef, Richard demonstrates a complete indifference as to whether his food is consumed or not - at the end of each evening, he simply discards the remnants into the trash bins located at the rear of the restaurant. Exploiting the thief’s immense wealth in order to perfect his culinary delicacies, the cook endures his bestial conduct.

The thief, Albert Spica (Michael Gambon), has unrealistic aspirations to become a certified gourmet chef, which he believes will aid him in his purpose to elevate his social status. Albert is the epitome of human depravity, an unscrupulous gangster and protection-racketeer, who revels in humiliating his wife through a constant routine of physical and psychological abuse.

The wife, Georgina Spica (Helen Mirren), seems to be forever destined to a fearful existence of boredom and martyrdom. Through her frequent visits to the restaurant with Spica, Georgina soon becomes acquainted with a modest and placid-natured bookstore owner; within moments of their initial meeting, they consummate their lust in the restaurant’s bathroom. With each subsequent visit to the Le Hollandais, Georgina continues her liaisons with her lover, further increasing their risk of being discovered by her brutal husband.

The lover, Michael (Alan Howard) is an unassuming intellectual with a self-depreciating sense of humour. Assured of his place in the scheme of things, Michael’s first passion is the small book depository which he operates. From innocuous beginnings, his flirtations with Georgina descend into a spiraling vortex of deceit, treachery, and violence - accumulating in a stomach-churning climax which defies reason.

  Video
Contract

The Cook, The Thief, His Wife & Her Lover is presented in its original screen aspect ratio of 2.35:1, and is 16:9 enhanced.

Blacks are quite solid and shadow detail is acceptable. Details are of variable quality, but are generally quiet sharp; when they are, they sometimes provide excellent definition. Flesh-tones are accurate and, when the film’s radical lighting permits, wonderfully natural.

Although film artefacts are at a minimum, there are several instances where MPEG artefacts were detected - most notably, during Chapters 1, 19 and 28 where black transition screens are involved. However, their impact is mostly negligible and would certainly be somewhat minimised on a standard size screen. Minor aliasing was noticed in some scenes, but it is of no consequence.

There is often minor grain present - most noticeably in the film’s latter chapters, 24 and 28 - and is not intrusive.

The transfer's major flaw resides in viewing The Cook, The Thief, His Wife & Her Lover in its original 2.35:1 screen aspect ratio. For some peculiar reason, there are twin horizontal lines which maintain a permanent position within the tops of the letterbox and screen areas. Present throughout the film's entirety, this anomaly is a distraction which is detrimental to the viewing experience. It does not manifest itself in the 16:9 enhanced mode.

Ultimately, this transfer’s crowning achievement is in the magnificently efficient manner in which it handles cinematographer Sacha Vierny’s rich and lurid colour schemes. There is no evident colour bleeding or over-saturation, even when the screen is absolutely inundated with stunningly bold colour palettes - the primary example being the Le Hollandais’ banquette room, where the majority of the film takes place.

The room is a potent symbol of decadence and opulence, draped in luxurious regal reds and rosy pinks which extend to the plush velvet curtains, carpets and the actors’ costumes. The scenes featured in this environment - and, indeed, others - represent a formidable challenge to this transfer, yet it carries it off with astonishing ease.

It must be noted that The AV Channel, the distributors of The Cook, The Thief, His Wife & Her Lover, do not possess the financial capabilities - and the access to the encoding equipment - of some of its competitors. Therefore, when compared to titles from other companies, this film may seem to lack a certain degree of polish. Despite the transfer's flaws, The AV Channel should be praised for attempting to produce the definitive version of Greenaway's masterpiece.

  Audio
Contract

There is only one audio selection, that of the Dolby Digital 2.0. Dialogue is mostly clear and easy to understand - although Richard Bohringer’s French accent is difficult to comprehend at times. However, this is not due to any mastering flaw in the transfer, but rather in the manner in which Bohringer delivers his lines. Sound, too, is exceptionally clear. I found no evidence of audio distortion or degradation in sound levels.

Since this is a two-channel presentation, the rear surrounds and subwoofer remain inactive. Even if provided with the option, The Cook, The Thief, His Wife & Her Lover would not benefit greatly from a 5.1 mix. Greenaway’s film is a minimalist experience - which means that it is confined to but a few sets - with an narrative that is driven primarily by dialogue; it is not an action film. The Dolby Digital 2.0 audio track performes exceptionally well, providing excellent tonal range and befitting the film perfectly.

  Extras
Contract

With a couple of biographical features on Greenaway and a theatrical trailer, there is not much on offer here.

Peter Greenaway Biography: As it suggests, merely two pages of biographical information on the director.

Peter Greenaway Filmography: A comprehensive fourteen page listing of Greenaway’s short films and features.

Theatrical Trailer: Presented in a 2.35:1 screen aspect ratio and containing a Dolby Digital 2.0 audio track, this anamorphic trailer runs for 3:31.

  Overall  
Contract

The Cook, The Thief, His Wife & Her Lover shares a common thread with Marco Ferreri’s La Grande Bouffe in its use of food consumption as a metaphor for unrestrained excess. Much has been discussed about the undercurrent political content inherent in Greenaway’s film, with speculation that it is a satirical stab at Thatcherism and the events of the French Revolution. Although there are strong references to the tumultuous overthrow of the French government - for instance, Michael is seen to be diligently researching the subject - and a scathing commentary of the caste system, there are numerous ways in which to interpret this film.

However, there can be no disputing the fact that this is an extremely challenging piece of cinema - not only does it push the boundaries of moral acceptability, but it also tests the strength of its audience. If any evidence is needed, it can be found in the opening scene where Spica and his minions castigate an unfortunate slow-paying storeowner by first force-feeding him excrement and then urinating on him. Graphic in the extreme, this scene establishes the sense of moral and social malaise which pervades throughout the entire film.

The performances of the main leads - in particular, Gambon and Mirren - are nothing short of brilliant. As the odious and repugnant Spica, Gambon is a portrait of bestial hatred so intense, that one feels soiled by the film’s conclusion; Mirren, as the wife seemingly destined for martyrdom, is perhaps the singularly most important character in the film, serving as the epicentre for its catastrophic chain of events. Her transformation from a down-trodden, subjugated wife to a cold, manipulative killer is not only mesmerising, but chilling.

The Cook, The Thief, His Wife & Her Lover is definitely a required taste which should be avoided by those with solid moral convictions or weak stomachs. On the other hand, if you are a fervent Peter Greenaway fan and possess a brave constitution, then I would strongly recommend purchasing this title.


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      And I quote...
    "Tough and uncompromising... a disturbing cinematic masterpiece with a twist worthy of Shakespeare’s Titus Andronicus... "
    - Shaun Bennett
      Review Equipment
    • DVD Player:
          Panasonic SC-HT80
    • TV:
          Panasonic TX-43P15 109cm Rear Projection
    • Audio Cables:
          Standard Optical
    • Video Cables:
          standard s-video
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