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Charlotte Gray
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Directed by Gillian Armstrong.
Based on the best-selling novel by Sebastian Faulks, this drama, set in Europe during World War II, stars Cate Blanchett as Charlotte, a Scottish woman living in London. Charlotte falls in love with Peter (Rupert Penry-Jones), a handsome RAF pilot, and the two are soon caught up in a torrid affair. Before long, Peter is sent off on a mission over France, and Charlotte receives word that Peter has been reported missing in action. Fluent in French and desperate to find the man she loves, Charlotte volunteers for work with British intelligence and is soon smuggled into France where she is to work with French resistance forces, posing as a woman from Paris. As Charlotte goes about her duties and tries to find Peter, she finds herself drawn to Julien (Billy Crudup), a Communist working with resistance forces. Charlotte is assigned to pose as a domestic at the home of Julien's father, Levade (Michael Gambon), where he's hiding two Jewish boys whose parents have been captured by Nazi troops. In order to maintain her cover and protect Julien, Levade, and the boys, Charlotte finds herself drawn into a relationship with Renech (Anton Lesser), a busybody schoolteacher who is collaborationg with the occupation troops. Directed by Gillian Armstrong, Charlotte Gray also features James Fleet, Ron Cook, and Helen McCrory. ~ Mark Deming, All Movie Guide
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Review by All Movie Guide
All Movie Guide
lost interest.
Charlotte Gray had both the credentials and the post-Christmas release date of a traditional Oscar hopeful. Not only was it a World War II/Holocaust drama sprinkled with romance and intrigue, starring a recent Oscar nominee (Cate Blanchett), but the director (Gillian Armstrong) was known for her finesse with female-oriented material (Little Women). None of this helped Charlotte Gray reach a wide audience, and it utterly failed to register. Never less than stately and competent, the film suffers from a lack of clarity in both the plot and the performances. Charlotte's narrative function as a spy is even harder to pinpoint than Billy Crudup's indifferent French accent. Blanchett herself is incapable of being bad, but she bears the weight of Armstrong's overly emotional directing style, which whips numerous scenes into angst-ridden frenzies, often without justification. Armstrong's intended epic sweep is born out by the cinematography and the faithful attention to period design. But her adaptation of Sebastian Faulks' novel owes too much to wartime romances like The English Patient and The End of the Affair, without carrying the weight or distinction to join their rank. Armstrong believes that war naturally engenders heroes and lends grandeur to each desperate human action. She forgets that universal acclaim is not so easy to come by for historical melodramas -- especially when they lack the ring of truth. ~ Derek Armstrong, All Movie Guide
 



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