Video Reviews

D: Michael Hoffman (1995); with Robert Downey Jr., Sam Neill, David Thewlis, Ian McKellen, Meg Ryan, Polly Walker, Hugh Grant.

Visually magnificent, Restoration is a lovely mess. The filmmakers exploited the many opportunities for oppressive opulence in this delicious, but ultimately convoluted, picture. Spanning the reign of Charles II, the great fire, the plague, ad nauseam, the "restoration" refers not only to the period, but also to the human condition. Shot in England and Wales, the film won Academy Awards for art direction and costumes. The script involves a promising young doctor, Jack Merivel (Downey), whose gifts attract the attention of the king. Entering the revered court circle, Merivel has the delights of the world at his fingertips and ultimately succumbs to debauchery. With the exception of an unpleasant, jarring characterization of a mentally ill woman by Ryan (whose forte is definitely not period pieces), the leading and supporting roles are well-cast. Downey has appeal and charm (one that survived his recent tribulations) and gives Merivel humor, irony, and dedication, in addition to the human foibles to which he falls victim. Neill carries off the role of King Charles II with style and assurance, as he seeks to secure the permanent services of his mistress by marrying her off to Merivel. The king has selected Merivel for his inability to be placated by one woman -- his desires keep him on a constant conquest for new and different lasciviousness. The king's one condition is that Merivel not fall in love with his own wife. Needless to say, that is exactly what occurs, and thus begins the tumultuous fall from grace. And that's just the first part of this lengthy movie. The script begins to fray throughout the second half, which deals with Merivel's quest for redemption -- not from the King, but from himself and God. It involves his daughter by the Ryan character, and this is where the story changes from costume drama to social commentary. It is through Merivel's personal travails, as well as those inherent in the period -- disease, pestilence and ignorance -- that he understands that the only reason he is on Earth is to care for this child. Despite the lush cinematography, there is an overdose factor involved that, once the outcome of the movie is evident, the viewer yearns for it to hurry along and be over. That said, it also leaves lingering memories of beauty and gratification.