MOVIE REVIEW : ‘Century’ a Drama of Endings, Beginnings

“Century” takes us back to New Year’s Eve, 1898, to a town outside London. A new resident, a Romanian Jew who made his fortune in construction in Scotland, is throwing a gaudy celebration shunned by his openly anti-Semitic neighbors. The next year, at the film’s end and as the century turns, Mr. Reisner (Robert Stephens) will be considerably more successful as a host, but in the course of that year the destiny of his brilliant, handsome son Paul (Clive Owen) will have entirely changed. Writer-director Stephen Poliakoff suggests in absorbing, provocative fashion that while some bright hopes of the 20th Century were already dimming on the eve of 1900, unexpected challenges and possibilities were also opening up.

A medical student of blazing promise--and equal self-confidence--Paul is heading for London to study at a research institute celebrated for its progressiveness. After a bit of adjustment and humbling, Paul soon becomes the assistant to the institute’s formidable, charismatic chief, Professor Mandry (Charles Dance). Paul’s life is going swimmingly, his career seemingly assured, when he tells his mentor that he should reconsider the merits of a fellow student’s revolutionary theory regarding research in neurology. Mandry regards this an act of impertinence to such an extent that Paul’s attempts to press his case trigger truly shocking consequences.

A distinguished playwright and screenwriter, Poliakoff chooses to present Mandry as an enigma. Is the possibility that Paul has intervened on behalf of a colleague stunning enough to threaten Mandry’s own ego and stature? Why couldn’t he proclaim it as a credit to the institute? Is there some latent, unacknowledged anti-Semitism on Mandry’s part involved here? We’ll never know for sure--such uncertainty is something which members of all minorities are familiar.

In this instance, Poliakoff, in his third directorial effort, may be right to let us ponder such questions, but in other aspects of “Century” some crucial clarity is needed. As part of his growing experience--and his developing relationship with Clara (Miranda Richardson), a smart, poor and beautiful lab assistant--Paul is becoming aware of the plight of London’s homeless. In doing so, he learns that Mandry, in the name of eugenics--a movement which, significantly, the Nazis would appropriate only a couple of decades later--has embarked upon a secret program of thoroughly horrifying cosequence.

The uncertainty surrounding some key aspects of Mandry’s clandestine activities diminishes the impact of what is a distinctive, complex drama of wide-ranging implications. Fortunately, the film nevertheless possesses the larger perspective of Paul discovering his true path in life, one that he cannot remotely have anticipated only a year earlier.

British films almost invariably shine in their performances and in period re-creations, and on these scores “Century” triumphs. Owen, Richardson and Dance are impeccable, and Stephens is a special delight as a man who is a shrewd businessman, a loving father, and yet often obtuse in social situations. Joan Hickson is amusing as the very grand patron of the institute. “Century” has so much going for it, is so challenging and unusual, that its flaws are all the more unfortunate.

* Unrated. Times guidelines: Adult themes and situations.

(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)

‘Century’

Clive Owen: Paul Reisner Charles Dance: Professor Mandry Miranda Richardson: Clara Robert Stephens: Mr Reisner An I.R.S. release of an I.R.S. Media, in association with ITC Entertainment Group, presentation of a BBC Films production in association with Beambright. Writer-director Stephen Poliakoff. Producer Therese Pickard. Executive producers Mark Shivas, Ruth Caleb. Cinematographer Witold Stok. Editor Michael Parkinson. Costumes Anushia Nieradzik. Music Michael Gibbs. Production designer Michael Pickwoad. Art director Henry Harris. Running time: 1 hour, 52 minutes.

* In limited release at the AMC Cecchi Gori Fine Arts, 8556 Wilshire Blvd., Beverly Hills. (310) 652-1330.