This is one of those films the Brits do so well - adapted from a British novel, in this case by John le Carré; set in an African country, once a British colony; and dealing, inter alia, with deep treachery by the British Foreign Office. Except, as it happens, apart from its two main leads, Ralph Fiennes and Rachel Weisz, The Constant Gardener is hardly British at all, and in particular is directed by the Brazilian, Fernando Meirelles, previously best known for City of God, about young people living in a violent, poor quarter of Rio de Janeiro.
The detailed plot, involving dirty dealing by the drugs industry, aided and abetted by senior figures and institutions in both the UK and Kenya, should not be taken too seriously. These days, any drugs company marketing a medication known to have dangerous side effects would be risking crippling law suits. Nevertheless, within the normal limits of cinematic credibility, the screenplay is convincing, and certainly the vulnerability of the African poor to almost any cr*p dumped on them by outside forces or their own Governments is true enough.
Fiennes is well cast as Justin Quayle, a diplomat in the UK High Commission (embassy) in Nairobi, who is intelligent and sensitive, but essentially detached from the world around him, except for his beloved garden. Weisz is quite brilliant in her portrayal of his passionate wife, Tessa, a health-care volunteer, who discovers and investigates the drugs conspiracy, at the cost of her life. One lapse in the plot and characterisations (possibly present in the original book which I haven't read) is that Quayle's diplomatic work is left too vague. Some reference to his actual job might have allowed a deeper exploration of the contrasts in attitude of Justin and Tessa, who like many married couples have only their love in common. Other noteworthy cast members are Danny Huston as Justin's oily superior; and Bill Nighy, in a sinister role, as a senior civil servant, whose mild exterior conceals the frigid hole in his chest where his heart has been extracted.
Visually, the film is compelling, with many scenes of local deprivation contrasted with the comfortable lives of the diplomatic corps. Also, when appropriate, Meirelles doesn't hesitate to depict Kenya's spectacular scenery. (Given the plot, it was perhaps surprising and brave of the Kenyan authorities to allow filming in their country.) Heightened (digitally enhanced?) colour adds to the visual and dramatic impact.
Overall, this is a high class movie, raising some important issues, whose form and content are equally above average.
The detailed plot, involving dirty dealing by the drugs industry, aided and abetted by senior figures and institutions in both the UK and Kenya, should not be taken too seriously. These days, any drugs company marketing a medication known to have dangerous side effects would be risking crippling law suits. Nevertheless, within the normal limits of cinematic credibility, the screenplay is convincing, and certainly the vulnerability of the African poor to almost any cr*p dumped on them by outside forces or their own Governments is true enough.
Fiennes is well cast as Justin Quayle, a diplomat in the UK High Commission (embassy) in Nairobi, who is intelligent and sensitive, but essentially detached from the world around him, except for his beloved garden. Weisz is quite brilliant in her portrayal of his passionate wife, Tessa, a health-care volunteer, who discovers and investigates the drugs conspiracy, at the cost of her life. One lapse in the plot and characterisations (possibly present in the original book which I haven't read) is that Quayle's diplomatic work is left too vague. Some reference to his actual job might have allowed a deeper exploration of the contrasts in attitude of Justin and Tessa, who like many married couples have only their love in common. Other noteworthy cast members are Danny Huston as Justin's oily superior; and Bill Nighy, in a sinister role, as a senior civil servant, whose mild exterior conceals the frigid hole in his chest where his heart has been extracted.
Visually, the film is compelling, with many scenes of local deprivation contrasted with the comfortable lives of the diplomatic corps. Also, when appropriate, Meirelles doesn't hesitate to depict Kenya's spectacular scenery. (Given the plot, it was perhaps surprising and brave of the Kenyan authorities to allow filming in their country.) Heightened (digitally enhanced?) colour adds to the visual and dramatic impact.
Overall, this is a high class movie, raising some important issues, whose form and content are equally above average.