Genre Thriller
Actors Ethan Hawke, Kristin Scott Thomas, Joanna Kulig
Story or Storyline:
Writer-director Pawel Pawlikowski occupies a unique place in the British film
industry. He has a gift for creating works that defy narrative expectations
as they proceed: Last Resort (2000) and My Summer of Love (2004) were
stories that took sly detours from predictable paths.
With The Woman in the Fifth, his first film in eight years, Pawlikowski
(Polish-born but resident in Britain since childhood) has taken this
tendency to the extreme. It’s based on a thriller by Douglas Kennedy, but
only loosely .
Ethan Hawke plays Tom, a troubled American academic and failed writer,
visiting Paris in a vain attempt to win back his estranged wife and young
daughter. Kristin Scott Thomas is Margit, a mysterious woman of hazy
national origins who calls herself a translator. She offers Tom advice with
his writing, provides almost maternal comfort, and lures him into an affair.
In early scenes Hawke, finally casting off any shred of boyishness on screen, portrays Tom in a state of high anguish ; it’s as good as he’ll feel throughout. The plot unfolds from his point of view, but the suspicion soon arises that Tom is an unreliable narrator. Both he and his daughter view the world through thick glasses; this is less a character detail than a clue to the story’s slippery nature.
Banned by an exclusion order from seeing his daughter, Tom is driven to the brink. He winds up living in a grim, dank hotel with a guest from hell in the next room. The hotel is run by a shady French-Arab fixer, who employs him as a night guard in a locked cellar, from which he monitors criminal transactions on CCTV. His need for love and human contact plunges him into confused grief.
Pawlikowski and his gifted long-time cinematographer, Ryszard Lenczewski, use unlikely camera angles and an almost hypnotic repetition of rarely filmed Paris locations as visual parallels to his state of mind. It’s entrancing to look at, but there’s a disturbing, nagging quality to its beauty; it feels like a European art-house film from the 1960s.
The Woman in the Fifth is not perfect – its ending is messy and faintly anti-climactic. Still, it’s a rare film that leaves you wondering where it’s going, how it may end – and afterwards, even questioning what actually happened. It’s an intriguing enigma.
In early scenes Hawke, finally casting off any shred of boyishness on screen, portrays Tom in a state of high anguish ; it’s as good as he’ll feel throughout. The plot unfolds from his point of view, but the suspicion soon arises that Tom is an unreliable narrator. Both he and his daughter view the world through thick glasses; this is less a character detail than a clue to the story’s slippery nature.
Banned by an exclusion order from seeing his daughter, Tom is driven to the brink. He winds up living in a grim, dank hotel with a guest from hell in the next room. The hotel is run by a shady French-Arab fixer, who employs him as a night guard in a locked cellar, from which he monitors criminal transactions on CCTV. His need for love and human contact plunges him into confused grief.
Pawlikowski and his gifted long-time cinematographer, Ryszard Lenczewski, use unlikely camera angles and an almost hypnotic repetition of rarely filmed Paris locations as visual parallels to his state of mind. It’s entrancing to look at, but there’s a disturbing, nagging quality to its beauty; it feels like a European art-house film from the 1960s.
The Woman in the Fifth is not perfect – its ending is messy and faintly anti-climactic. Still, it’s a rare film that leaves you wondering where it’s going, how it may end – and afterwards, even questioning what actually happened. It’s an intriguing enigma.
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