Fools Of Fortune
(BRITISH)

London A Palace Pictures release (New Line Cinema in U.S.) of a Polygram/Working Title production in association with Film Four Intl. Executive producers, Tim Bevan, Graham Bradstreet. Produced by Sarah Radclyffe. Directed by Pat O'Connor. Screen-play, Michael Hirst, based on the novel by William Trevor; camera, Jeny Zielinski; editor, Michael Bradsell; music, Hans Zimmer; production design, Jamie Leonard; costume design, Judy Moorcroft; associate producer, Caroline Hewin; casting, Debbie McWilliams. Reviewed at Mr. Young's Preview Theater. London, May 8, 1990. Running time: 104 MIN.
Marianne..........Mary Elizabeth Mastrantonio
Willie..........................................lain Glen
Mrs. Quinton........................Julie Christie
Mr. Quinton......................Michael Kitchen
Young Willie.....................Sean T. McClory
Tim Paddy...................Frankie McCaffeny
Josephine...........................Niamii Cusack
Seargant Rudkin..................Neil Dudgeon
Imelda.......................Calherine McFadden

"Fools of Fortune" is an historical saga written with lucidity and performed with sensitivity, but tending to melodrama. There's limited appeal in this gentle and unprobing film.

Political angle is present only by implication, and certain characterizations are not fully enough explored, but top quality lensing and thesping should keep most engrossed, if unchallenged.

The Irish war of independence is the starting point for the story of a family's destruction and the survival of an unlikely love. The Quinton family seem sheltered in their grand rural home until one of their workers is murdered by the Republicans on suspicion of spying for the British forces. In retaliation, the British-employed soldiers, the Black and Tans, burn down the Quintons' house, and shoot down Quinton.

The only survivors of the massacre are Quinton's wife (Julie Christie), her son Willie (first, Sean T. McClory, and then as an adult, Iain Glen), and their maid (Niamii Cusack). Willie becomes an introspective and withdrawn young man, while his mother becomes a manic depressive and chronic alcoholic, a role which Christie relishes in.

When Christie finally commits suicide, Willie is comforted by childhood playmate Marianne, who's grown into an exquisitely beautiful woman (Mary Elizabeth Mastrantonio).

Result of this comfort is a child, but by the time Marianne returns to Ireland from her home in England to confront Willie, he's disappeared. Turns out he's sought retribution by murdering the leader of the Black and Tans who murdered his father and sisters, and has gone into self-imposed exile on an island off Wales.

She and the child live with Willie's aunts in the only part of the oid Quinton house not devastated by the fire (the ruins of the house are eerily untouched), while Willie agonizes in his ramshackle cabin far away. Finally a message from the dying maid calls him back home, where he's reunited with Marianne and the daughter he's never known.

Glen plays Willie as a profoundly tortured soul, and it's a moving performance. Mastrantonio captures the purity and innocence of Marianne, while at the same time seeming somewhat too beautiful and inherently sexy to be attracted to the boy. Their love is never totally believable. Cusack's maid is a promising character but underwritten, which is frustrating as she seems to have an unexplained hold on Willie.

Pic is technically superior, music is highly atmospheric and the production design is stunning. Real star is the Irish landscape, which alone is enough to captivate. — Krug.