The Cook, the Thief, His Wife & Her Lover

1989

Crime / Drama

112
Rotten Tomatoes Critics - Certified Fresh 90%
Rotten Tomatoes Audience - Upright 89%
IMDb Rating 7.6 10 31,433

Synopsis


Downloaded 56,157 times
April 11, 2019

Cast

Ciarán Hinds as Captain Stinger
Helen Mirren as Chase Phillips
Michael Gambon as Bernard Delfont
Tim Roth as William Pitt
720p.BLU 1080p.BLU
873.91 MB
1280*720
English
NR
23.976 fps
124 min
P/S N/A / N/A
1.86 GB
1920×1080
English
NR
23.976 fps
124 min
P/S N/A / N/A

Movie Reviews

Reviewed by Minerva_Meybridge 10 / 10 / 10

The Divine Comedy

Imagine the universe as a restaurant. The parking lot is the world. The kitchen is purgatory. The ladies's room is heaven. The dining room is hell. Hell is ruled over by Albert Spica, (Satan) excellently played by Michael Gobon. Dante is Michael (Alan Howard) a cataloger of French books. Beatrice, Dante's perfect woman, Georgina Spica (Helen Mirren) who is married to the devil. In the beginning, the cook (God) in the real world is seen kicked and smeared and fed dog feces by Gabon. He is humiliated and in tears, but He endures and eventually helps to further the love between Howard and MIrren. Sex, in its pure form, is looked at as something sacred. Gabon lords over everyone in his realm with a tyrant's fist, caring nothing about anyone or anything. He wants two three things out of life—superiority to all other being, food and sex, while Mirren, as a reluctant Persephone, sneaks off to be with Howard. A couple of times Gabon even finds his way into the sanctity of heaven, but this is only short-lived. The mood of the film is dark-black, heralded by brilliant reds or greens, and the tenor of an angelic child throughout. Every image is like a painting. Emotions creep in from all directions. This is a film that would never, no matter what year it was produced, have won an Academy Award. It is too refined, to subtle, too sensual, too intelligent. Watch it, rent it, buy it. It must be seen.

Reviewed by onionhasayoyo 7 / 10 / 10

An unforgettable piece of total cinema

First of all, I have to say that this film is one of my personal favorites, and that it is one of those things one must see during his or her lifetime. Truthfully, however, I first got into this film after hearing clips of the soundtrack on the Japanese version of Iron Chef, during a time before it was acquired by the Food Network. This film score, composed by the great post-minimalist Michael Nyman, is still one of the most haunting and soul-stirring scores in my opinion, if not the one of the most impressionable bodies of musical work ever. I still listen to the album on a weekly basis - it gets under your skin that way. The film itself is a piece of total art, as others have said. The sets are saturated with their singular color schemes (blue for the restaurant's exterior, green for the kitchen, white for the restrooms, and red for the main dining hall) , and people who have any sort of artistic training have valued and will continue to value this film as a character study of color. In this present age where most films present their interpretations of visual thrill through costly CG and SFX technologies, this film is a testament to how color can be a driving influence behind effective set design and cinematography. The principal actors, including the always amazing Helen Mirren and Michael Gambon, are first rate. Helen Mirren's Georgina is a truly heart-wrenching character, especially in the face of Gambon's portrayal of Albert Spica, a poor excuse for a human being and one of cinema's cruelest villains. The cook and lover are merely catalysts, serving to instigate the final act that is the undoing of Albert's overreaching tyranny. I suppose the anti-Thatcher sentiment is highly applicable to this film, but since I am not a British citizen, I feel that I cannot comment on this. However, I think the film's allegory can also be applied to other scenarios where a brutish figure uses violence and exploitation as a way to control others whose primary fault is only residing in the same physical/social/legal domain as the brute. In short, a masterpiece.

Reviewed by ironhorse_iv 7 / 10 / 10

Want to spoil your appetite for restaurant dining? Then, watch this movie. It will gross you out! A discourse in disgust.

If you can't stand the heat, then get out of the kitchen, because director Peter Greenaway's food porn movie is one film that is really hard to digest. It's not for everybody. After all, the film's putrescence, debasement and excesses (sadism, cannibalism, torture, graphic fornication, puke, and rotting fish and meat) and scatological themes (force-feeding of excrement, urination on victims) forced the MPAA (Motion Picture Association of America) to give the film, an "X" rating for theaters, and a NC-17 rating by the time of its video release. An alternative R-rated version was indeed made, but it cut out about 30 minutes of footage. Regardless of what version, you try to watch; all of them, ends the same way, with your head over a brown bag, puking. It's just one of those types of a movie even if the nudity scenes are not that bad. Without spoiling the film, too much, the story also written by Greenaway was inspired by Jacobean revenge tragedies and name after four people that the director originally wanted to work with; it tells the story of a successful criminal, Albert Spica (Michael Gambon) with expensive tastes having just bought a French restaurant, where he holds court nightly drinking the finest wines and abusing staff and customers equally, while his mistreated wife, Georgina (Helen Mirren), secretly has an affair with a bookseller, Michael (Alan Howard). However, things become more troublesome for the secret lovers as Albert find out about their affair, setting off a chain of violent acts over the course of one night dinner party, which the main cook, Richard Boarst (Richard Bohringer) cannot stop. While, this film is not as shocking or offensive as other films like this, such as 1975's 'Salò, or the 120 Days of Sodom' or 2010's 'A Serbian Film'; 1989's 'The Cook, the Thief, His Wife & Her Lover' did do something, besides having shock value. It was also somewhat beautiful metaphoric shot by cinematographer, Sacha Vierny. I love how Peter Greenaway and his crew designed this cruel, over-the-top, truth-telling film as an allegorical criticism of wasteful and barbaric upper-class consuming society in Western civilization (specifically Thatcherism and Reaganism of the 1980s). You do kinda see it, with the way, the cameraman shots people eating beautiful baroque style artwork of food, with their eating habits representing more like pigs feeding at a through, than proper dining etiquette. Its looks rather gross. Even the graphic sex scenes, while somewhat hot, are just as dirty. After all, porking near raw dead animals filmed with unflattering lighting isn't what I call, 'attractive'. Despite that, I love how huge and allegorical, this colorful restaurant is. It is a bizarre place, a mixer of post-modern pipes and medieval-looking cauldrons. Almost like a dream, of some sort. It's portray a sense of luxury and commodity to the point that it can be seen as a symbolism of Frans Hals style art, with the cook representing the artist, the theft as the forger, the wife as the populace and the lover as the intelligent circle. I also love how the kitchen and storage area (deep jungle-green), representing greed & decay, main dining room (hellish red), signifying blood & violence, the adjacent parking lot (dark blue) representing the coldness & death, and the restrooms (white) representing neutrality, and exactitude. It made a wonderful centerpiece for a Technicolor stage play with the costumes by Jean-Paul Gaultier changing colors like a mood ring. You really do see the characters, reaction differently, with each location. The acting throughout this, is amazing, even if some of them, like Michael Gambon was a bit, hammy and Richard Bohringer, a bit limiting. They all have a part to play, here. While, some scenes in this movie can seem out of place and not needed like the singing dishwasher kid, Pup (Paul Russell), the spoon waiter, and the shirtless cook scenes that comes off as too bizarre and pretentious. For the most part, the pacing is alright, despite a few filler and padding. Another thing, great about this movie is the music, by composter, Michael Nyman. It's beautiful, stately, & elegiac, even if it's mostly a recopy of his 1985's 'Memorial' funeral piece. It remind me, so much of 17th century English composter, Henry Purcell in the way, it adds immeasurable depth of feeling. Overall: Although, it's not easy to sit through this surreal, somewhat avant garde film. It's also impossible to turn away from the screen. It's like a beautiful train wreck. You hate to see it, but can't help, yourself for taking a look. I can only recommended it, for people that had morbid curiosity about certain people's inhumanity. There is no fine dining here.

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