Julia (2009)

Directed by Erick Zonca

(2 ½ out of 4)

 

Review by Kevin Vu: Before her Oscar-winning turn in “Michael Clayton,” a role that garnered her well deserved recognition, Tilda Swinton was, to me, an English gem who commanded the screen with her versatile and eccentric presence. From the jaw-dropping and androgynous title character in “Orlando” to the fiercely protective mother of “The Deep End,” she proved that she's not afraid to sink her teeth into truly unconventional roles. Swinton return's to the art house as the title character in Erick Zonca's latest film, "Julia," further proving her unique talents, and this time as a leading lady.

Chronic drinking, one-night stands and quarrels announce the titular Julia (Swinton) as a reckless woman on steady decline. She is encouraged by her sponsor and ex-boyfriend Mitch (Saul Rubinek) to attend AA meetings, where she meets her neurotic neighbor Elena (Kate del Castillo). In an act of desperation, Elena seeks Julia's help to regain custody of her young son Tom (Aidan Gould) by kidnapping the boy from his wealthy grandfather. Although reluctant at first, Julia eventually chooses to exploit the kidnapping to her own advantage.

Zonca's film consciously evokes comparison to John Cassavetes’s "Gloria" in both tone and plot, but the character of Julia is actually quite different from the compassionate Gena Rowlands. Plastered in make-up, cheap looking attire and high-heels, Julia chain smokes, drinks and engages in sex with strangers. In the midst of kidnapping Elena's son, she dons a black mask, waves a gun about and verbally abuses the boy. Throughout the course of the plot, Julia continues to commit heinous acts that seem to spin increasingly out of her control as she and Tom race across the border into Mexico.

Swinton proves again that she is an actress not afraid to take chances, and her selfish and self-destructive character shows no interest at all in redemption. Unapologetically self-serving and unsympathetic, Julia refuses Mitch's willingness to help her or to simply accept a friendly gesture from Elena ("I'm not really down with the good neighbor shit," she states bluntly). Julia refuses to accept the responsibility for her own actions and their resulting misfortunes. This is a clueless and mentally damaged woman, so flawed that she's sure to destroy whatever she touches. She's arguably even a tragic figure; she cannot foresee the destruction that awaits her. She's certainly an ambiguous one, and an uncertainty about her remains right up until the end of "Julia."

Swinton shapes her character with authenticity and honesty, expressing with complete credibility all of Julia’s abrasive idiosyncrasies. Without Swinton's performance, "Julia" would fail. The film is flawed by uneven pacing over its two-and-a-half hour runtime, switching back and forth from drama to thriller and from gripping to lagging passages. But, at its best, "Julia" is an effective showcase for its enigmatic actress, who is one of the most unconventional and daring performers working in film today.

Last Word:

Sadly, "Julia" is an uneven film, anchored only by Tilda Swinton’s ambitious performance. But what a performance it is.

Review By:
Kevin Vu

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