37 reviews
Sexuality without love or tenderness
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)
For those of you who have seen this and are looking for a message, I can say that the brutal facts of life, that is to say, an animal existence, will out. Whether we are talking about sexual desire and sexual release, or about reproduction--especially that--it is the fundamental animal drives that control our lives and dictate our actions.
This movie offers nothing beyond that, and it shouldn't. It is perfect as it is. There is no phony sentimentality to entice us to delusion, or any sort of Hollywood ending. There is no redemption here. There is no spirituality. There is only desire and fulfillment; desire and frustration; desire and the end of desire which comes with... The movie doesn't say.
I don't know if this makes my top ten of the nineties--I have seen a lot of movies--but it makes my most memorable. I will not forget this stark performance by Katrin Cartlidge, who plays Claire Dolan. She does not have the charisma of a great actress, and the range of what is required here is limited, but within that range she is stunning. A good part of the credit surely goes to director Lodge Kerrigan, who emphasizes the tight, washed out lines of desperation on her face, along with her intense sexual desire and the stark, rapacious environment of the urban jungle in which she plies her trade. This is a movie that might well be viewed following Pretty Woman (1990). I wonder how many people who allowed themselves to identify with Julia Roberts as a whore, would like to identify with the high class prostitute of this film. Could they even watch it?
I was mesmerized by the sharp cuts and the film verité editing, the effective use of line and shadow, sound and silence, the clean, focused camera work. Our modern cities in all their indifference--the hard concrete and steel, the harsh lighting and intrusive sounds--are captured brilliantly. The script, cut lean and without comment, surprises us by turns, and keeps us on the edge of our seat throughout. The sex scenes are raw, intense and numerous. This is not a film for the kiddies. And that is an understatement.
Vincent D'Onofrio, who is an actor of suburb balance, plays the cabby who loves women, especially perhaps those in great need of his love, and he plays his part with subtlety and control. Colm Meaney plays the psychopathic pimp, a brutal man without conscience who uses force when necessary and a kind of cheap charm when it isn't. He has the type of the animal trainer, who plies the whip and the carrot, which he uses on women. Note well how Kerrigan has ironically emphasized this despicable man's ability to reproduce himself, making him the father of four children.
If I could sum up the life that Claire Dolan leads, I would say she lives among the wolves with a burden...her sexuality. She has a flat affect, strangely bereft of normal human expression. She is a kind of woman seldom seen on the silver scene, presented without an ounce of sentimentality. She feels life most strongly through sexuality, and only smiles at the result of sexual behavior, children. There is something profound in the realization that she is only really freed from her almost maniacal desire when she is with child. Meaney's character says he has known her since she was twelve and she has always been and always will be a whore. She will die a whore, he says. If true--and again, the movie lets us decide for ourselves--the question is, how did she become that way? The implication is that she was led or forced into prostitution at twelve. That is why she cannot feel about sex the way others feel, and that is why she finds it so difficult to feel affection for others. Hers has been an animal existence. She is always on her guard, and she shies away from a world that seems always about to hurt her brutally.
For those of you who have seen this and are looking for a message, I can say that the brutal facts of life, that is to say, an animal existence, will out. Whether we are talking about sexual desire and sexual release, or about reproduction--especially that--it is the fundamental animal drives that control our lives and dictate our actions.
This movie offers nothing beyond that, and it shouldn't. It is perfect as it is. There is no phony sentimentality to entice us to delusion, or any sort of Hollywood ending. There is no redemption here. There is no spirituality. There is only desire and fulfillment; desire and frustration; desire and the end of desire which comes with... The movie doesn't say.
I don't know if this makes my top ten of the nineties--I have seen a lot of movies--but it makes my most memorable. I will not forget this stark performance by Katrin Cartlidge, who plays Claire Dolan. She does not have the charisma of a great actress, and the range of what is required here is limited, but within that range she is stunning. A good part of the credit surely goes to director Lodge Kerrigan, who emphasizes the tight, washed out lines of desperation on her face, along with her intense sexual desire and the stark, rapacious environment of the urban jungle in which she plies her trade. This is a movie that might well be viewed following Pretty Woman (1990). I wonder how many people who allowed themselves to identify with Julia Roberts as a whore, would like to identify with the high class prostitute of this film. Could they even watch it?
I was mesmerized by the sharp cuts and the film verité editing, the effective use of line and shadow, sound and silence, the clean, focused camera work. Our modern cities in all their indifference--the hard concrete and steel, the harsh lighting and intrusive sounds--are captured brilliantly. The script, cut lean and without comment, surprises us by turns, and keeps us on the edge of our seat throughout. The sex scenes are raw, intense and numerous. This is not a film for the kiddies. And that is an understatement.
Vincent D'Onofrio, who is an actor of suburb balance, plays the cabby who loves women, especially perhaps those in great need of his love, and he plays his part with subtlety and control. Colm Meaney plays the psychopathic pimp, a brutal man without conscience who uses force when necessary and a kind of cheap charm when it isn't. He has the type of the animal trainer, who plies the whip and the carrot, which he uses on women. Note well how Kerrigan has ironically emphasized this despicable man's ability to reproduce himself, making him the father of four children.
If I could sum up the life that Claire Dolan leads, I would say she lives among the wolves with a burden...her sexuality. She has a flat affect, strangely bereft of normal human expression. She is a kind of woman seldom seen on the silver scene, presented without an ounce of sentimentality. She feels life most strongly through sexuality, and only smiles at the result of sexual behavior, children. There is something profound in the realization that she is only really freed from her almost maniacal desire when she is with child. Meaney's character says he has known her since she was twelve and she has always been and always will be a whore. She will die a whore, he says. If true--and again, the movie lets us decide for ourselves--the question is, how did she become that way? The implication is that she was led or forced into prostitution at twelve. That is why she cannot feel about sex the way others feel, and that is why she finds it so difficult to feel affection for others. Hers has been an animal existence. She is always on her guard, and she shies away from a world that seems always about to hurt her brutally.
- DennisLittrell
- Aug 18, 2001
- Permalink
A well crafted psychodrama too unpleasant to be popular.
Epitomizes the suppressed urges of life
One's first impression might be that the characters and scenes in this movie are simply too cold and emotionless. However, a careful study reveals the "seething" emotions going on in each player; from the pimp Cain who "seethes" with a misogynistic disdain of the women working for him to Elton (played with excellence by Vincent D'Onofrio) who seethes with longing to fulfill something greater in life than just being a cab driver (the attempted mugging scene whereafter he breaks down is just superb!). I think that the final two scenes of the movie--one between a "converted", pregnant Claire being approached by a former john, the other between the Cain and Elton with his wife -- excellently display the tormented, soulful emotions of the characters involved in this story.
wonderful katrin cartlidge
i usually am not the sentimental type but when i heard of katrin cartlidges death, believe me, i burst into tears. we lost one of the most charismatic, talented and intense actresses ever and this film proves it. her enigmatic, scene-stealing presence can´t be matched. this film is as haunting as kerrigans debut CLEAN SHAVEN. that´s all there is to say about this original piece of work. and i can´t wait to see kerrigan´s new film IN GOD´S HANDS which is still in the making.
- harryinmunich
- Dec 3, 2002
- Permalink
A chilling hall of mirrors. (possible spoiler)
- alice liddell
- May 21, 2000
- Permalink
An evocative movie despite its cool distance
Very Real, Very Sad
In New York, the Irish expensive prostitute Claire Dolan (Katrin Cartlidge) owes a huge amount to her pimp Roland Cain (Colm Meaney). When her mother dies, Claire moves to Newark, and tries to work honestly as a beautician. She meets the taxi driver Elton Garrett (Vincent D'Onofrio) and they have an affair. Elton falls in love for her and later, when he becomes aware of the situation, he tries to help her to pay her enormous debt to get rid off Roland, while Claire wants to have a baby.
"Claire Dolan" is an excellent independent erotic movie that presents a touching and very real story. The performance of Katrin Cartlidge is stunning, and she deserved a nominations for the Oscar for her acting as Claire Dolan. I could never imagine that Katrin Cartlidge has such a beautiful body. The excellent Vincent D'Onofrio and Colm Meaney have also great performances. The scene where Roland tells Elton that "a whore is always a whore" is very sad and the inconclusive open end is wonderful for such a good story. My vote is eight.
Title (Brazil): "Claire Dolan"
"Claire Dolan" is an excellent independent erotic movie that presents a touching and very real story. The performance of Katrin Cartlidge is stunning, and she deserved a nominations for the Oscar for her acting as Claire Dolan. I could never imagine that Katrin Cartlidge has such a beautiful body. The excellent Vincent D'Onofrio and Colm Meaney have also great performances. The scene where Roland tells Elton that "a whore is always a whore" is very sad and the inconclusive open end is wonderful for such a good story. My vote is eight.
Title (Brazil): "Claire Dolan"
- claudio_carvalho
- Jul 23, 2005
- Permalink
moving and deflating
After seeing this film I was immediately struck by its similarities to Chantal Akerman's Jeanne Dielman. Certainly, they are very different films, but there is a significant overlap, not just in subject matter and character--Jeanne and Claire--but also in approach. So much of Claire's life passes in silence or repetition that the parallels to Jeanne are fairly strong. Also, viewing Claire in the context of Jeanne at least suggests that having a child will not at all be the answer and solution that Claire is looking for, as motherhood did not make Jeanne Dielman's life wonderful. This film never looks as stark or as imagistic or as metaphorically thought through as Akerman's film, but as it moves along, and despite prosaic and occasionally clumsy scenes, it does attain a visual presence, and aspires to some imagistic displays. When her pimp asserts ruthlessly deterministic views of Claire, they cast a huge shadow on the events left unresolved, and few viewers can come away from this film with anything approaching an upbeat reading; but as a reminder that humans are fragile, frustrating, frustrated and often just aimlessly pathetic, this can stand alone, a stones throw away from a brilliant experiment like Akerman's Jeanne Dielman.
Really such a powerful film. Sex without love.
A powerful performance from Katrin Cartlidge who plays an Irish, high-end escort operating out of manhattan. Must have a record amount of sex scenes but shown here in the most non-erotic way (obviously a deliberate plot ploy). A great sadness the actress (who played the part) died at the tender age of 41. She was such a talent, especially brave in her depictions of abused women both in 'Naked' and the lesser known (but same may argue), the equally good 'Claire Dolan'.
- RatedVforVinny
- Nov 30, 2019
- Permalink
Tis A Pity She's A Whore.
- rmax304823
- Mar 18, 2014
- Permalink
I wish I could say it was better
I had high hopes for this film, because I thought CLEAN, SHAVEN (Kerrigan's first feature) was absolutely terrific, the most assuredly cinematic low budget film I'd ever seen.
But much of CLAIRE DOLAN is utterly pointless and flat. Scene after scene seems randomly tossed into the mix, without much thought for narrative or character.
Is Claire trying to escape being a prostitute or not? Hard to tell. Why does she pick up the trick at the airport if she wants to escape that life? Why does she then not pick up tricks when she needs money in Seattle? Why do we have to see her dye her hair to what is virtually the exact same color? Why does Claire accept some johns and not others? The filmmaker doesn't seem to know.
It feels as if everything is improvised (though I understand this wasn't the case) and the filmmakers just held a camera on it as if they were making a verite documentary.
After the screening I saw, Kerrigan defended his lack of narrative choices by condemning film narrative as politically conservative. It sounded like learned rhetoric. I think it was a cop-out.
I am saddened that the maker of a film as exciting as CLEAN, SHAVEN would go on to make such a lame film as this one and then defend it with tired old "political" cliches.
But much of CLAIRE DOLAN is utterly pointless and flat. Scene after scene seems randomly tossed into the mix, without much thought for narrative or character.
Is Claire trying to escape being a prostitute or not? Hard to tell. Why does she pick up the trick at the airport if she wants to escape that life? Why does she then not pick up tricks when she needs money in Seattle? Why do we have to see her dye her hair to what is virtually the exact same color? Why does Claire accept some johns and not others? The filmmaker doesn't seem to know.
It feels as if everything is improvised (though I understand this wasn't the case) and the filmmakers just held a camera on it as if they were making a verite documentary.
After the screening I saw, Kerrigan defended his lack of narrative choices by condemning film narrative as politically conservative. It sounded like learned rhetoric. I think it was a cop-out.
I am saddened that the maker of a film as exciting as CLEAN, SHAVEN would go on to make such a lame film as this one and then defend it with tired old "political" cliches.
A glass prison
The film begins with a series of views of NYC buildings, their windows reflecting like mirrors. A beautiful opening scene which let us feel beauty yet hostility. The same feelings as with Lcy, or should I say Claire (Katrin Cartlidge), a deluxe prostitute, working for a pimp she says she has a debt to. And Claire is really trapped in this glass prison, her world is full of mirrors which sometimes let us see the pimp's face and the scenes show the faces caught in close-ups. With the death of her mother, her meeting of a loving man and perhaps God's bless (given to her at the funerals), she will finally get to redemption.
Elton Garrett
"Claire Dolan" isn't normally my kind of film - sex and betrayal and self-hate and the like - but it has a few things going for it. Vincent D'Onofrio gives a typically good performance, with the kind of subtlety that he does so well. Colm Meaney is also good, extremely unlikable here. Katrin Cartlidge, in the title role, is a bit of a mystery. She's excellent, but tough to identify with.
I watched the film mainly for Lodge Kerrigan. I'd previously seen his other two films in a similar vein. Which is, to say, stories of loners emotionally cut off from the world around them. But in this case, I found myself thinking that a little more distance would be appreciated. In his first and second films, "Clean, Shaven" and "Keane", the characters are so distant that they're practically on another planet. That is an approach that Kerrigan is much more successful at. Here, the relationships drag down and unfocus things a bit too much. Which brings me back to D'Onofrio. He is the best part of "Claire Dolan". All scenes with him are the best, the most intense.
The cinematography is good. Clean, crisp, and harsh. Teodoro Maniaci does great work here. He shot Kerrigan's first film, "Clean, Shaven", and he brings out the same sense of alienation here. In the end, this is a pretty good film. Not nearly as good as it might have been, but there's something to be gained from the experience.
I watched the film mainly for Lodge Kerrigan. I'd previously seen his other two films in a similar vein. Which is, to say, stories of loners emotionally cut off from the world around them. But in this case, I found myself thinking that a little more distance would be appreciated. In his first and second films, "Clean, Shaven" and "Keane", the characters are so distant that they're practically on another planet. That is an approach that Kerrigan is much more successful at. Here, the relationships drag down and unfocus things a bit too much. Which brings me back to D'Onofrio. He is the best part of "Claire Dolan". All scenes with him are the best, the most intense.
The cinematography is good. Clean, crisp, and harsh. Teodoro Maniaci does great work here. He shot Kerrigan's first film, "Clean, Shaven", and he brings out the same sense of alienation here. In the end, this is a pretty good film. Not nearly as good as it might have been, but there's something to be gained from the experience.
- SteveSkafte
- Nov 3, 2010
- Permalink
A bad, bad, bad, bad movie
I saw this atrocious film recently on the Sundance channel and unfortunately didn't follow my first instinct, which was to turn it off after 10 minutes. Instead, I watched it through to the end. Big mistake; the boredom only intensifies.
The film begins, as background while the credits are running, with silent views of modern glass and steel Manhattan high rises; although this lasts only a few minutes, it seems interminable. Shots of the high rises reappear throughout the film. I guess the director was trying to say something about the soullessness of modern urban alienation. This is the film's first cliche; Antonioni and other European directors were using the same images to say the same thing 35 years earlier. The next cliche, which I'm sure the director intended to be revelatory, is that hookers lie to their johns, tell them they're special, etc., because it's good business. The last film I remember doing this is Klute in 1971. Oh yes, another original insight: pimps can be mean and vicious.
With the exception of Vincent D'Onofrio, the acting is uniformly atrocious. Katrin Cartlidge has to be the most wooden, inexpressive actress in recent memory. She makes Clint Eastwood in his spaghetti westerns look expressive. Moreover, throughout the film her johns repeatedly refer to her as beautiful, when actually Cartlidge is quite plain. This appears to be a low budget film. Perhaps they couldn't afford a truly beautiful actress for the part. Equally likely, no self-respecting actress would touch such a dud. Colm Meaney was equally wooden, but then again he wasn't given a whole lot to do. Vincent D'Onofrio at least brought some life to his character. One redeeming feature: if you're a dirty old man like me, at least the tedium is punctuated by frequent glimpses of Cartlidge's rather lovely breasts.
All in all, one to miss. 4/10
The film begins, as background while the credits are running, with silent views of modern glass and steel Manhattan high rises; although this lasts only a few minutes, it seems interminable. Shots of the high rises reappear throughout the film. I guess the director was trying to say something about the soullessness of modern urban alienation. This is the film's first cliche; Antonioni and other European directors were using the same images to say the same thing 35 years earlier. The next cliche, which I'm sure the director intended to be revelatory, is that hookers lie to their johns, tell them they're special, etc., because it's good business. The last film I remember doing this is Klute in 1971. Oh yes, another original insight: pimps can be mean and vicious.
With the exception of Vincent D'Onofrio, the acting is uniformly atrocious. Katrin Cartlidge has to be the most wooden, inexpressive actress in recent memory. She makes Clint Eastwood in his spaghetti westerns look expressive. Moreover, throughout the film her johns repeatedly refer to her as beautiful, when actually Cartlidge is quite plain. This appears to be a low budget film. Perhaps they couldn't afford a truly beautiful actress for the part. Equally likely, no self-respecting actress would touch such a dud. Colm Meaney was equally wooden, but then again he wasn't given a whole lot to do. Vincent D'Onofrio at least brought some life to his character. One redeeming feature: if you're a dirty old man like me, at least the tedium is punctuated by frequent glimpses of Cartlidge's rather lovely breasts.
All in all, one to miss. 4/10
- wjfickling
- Feb 15, 2004
- Permalink
Good, and a Bit Disturbing
Claire Dolan (Katrin Cartlidge) is a prostitute. Like many of them, she really doesn't like sex at all, or even most men, and sees it as a job. She's in debt to her pimp, Roland Cain (Colm Meaney) after he helps pay the medical bills of Claire's dying mother. When her mother passes on, Claire runs off and starts working in a salon, and meets a nice cabby named Elton (Vincent D'Onofrio). But Cain finds her, and he wants his money.
Lodge H. Kerrigan has not directed many films, but if they are as good as this one, I would like to see them. He captures how sterile the sex Claire has is, and shows how she really doesn't enjoy it. I was a bit shocked by how many of the men spoke to Claire. I was taught not to talk to women that way, but then again, guys going to prostitutes probably aren't exactly classy people anyway. Kerrigan does great work with reflections throughout this film, and the ending with Roland and Elton talking on the street gives closure in it's own way.
The acting was awesome. I didn't know Kartlidge could be so prickly, and I would never have imagined Meaney playing a guy who could yell like that. D'Onofrio is a good actor who wasn't given much to work with, although in his last scene with Claire he is far more disturbing than I think any other actor could be, which was what Kerrigan needed. Good, but not for the squeamish, as the movie is about a prostitute and is graphic.
Lodge H. Kerrigan has not directed many films, but if they are as good as this one, I would like to see them. He captures how sterile the sex Claire has is, and shows how she really doesn't enjoy it. I was a bit shocked by how many of the men spoke to Claire. I was taught not to talk to women that way, but then again, guys going to prostitutes probably aren't exactly classy people anyway. Kerrigan does great work with reflections throughout this film, and the ending with Roland and Elton talking on the street gives closure in it's own way.
The acting was awesome. I didn't know Kartlidge could be so prickly, and I would never have imagined Meaney playing a guy who could yell like that. D'Onofrio is a good actor who wasn't given much to work with, although in his last scene with Claire he is far more disturbing than I think any other actor could be, which was what Kerrigan needed. Good, but not for the squeamish, as the movie is about a prostitute and is graphic.
Inconclusive film
This is one of those independent films that has an ambiguous ending and I don't mind those types of endings as long as the story leading to it is interesting and rewarding (400 Blows) but this one just doesn't have the coherency. Very cold and dark look at an Irish prostitute who wants to get out of the business and have a child to change her life. The characters in this film are distant, jaded and have a "Business as usual" attitude. The late and great Katrin Cartlidge stars and she once again proves what a tragedy her death is at an early age. She had the potential for real greatness. This film does showcase her natural screen presence and how strong her personality is without saying a word or saying very little. I loved her in Mike Leighs "Career Girls" and thats a must viewing for all! But this film never really develops any real style or rhythm. Rather it shows this woman in an almost docu-drama style and the coldness of the characters is the style. Colm Meaney is her pimp and while at times it looks like he's ready to strike her, he never does. But he does strike her boyfriend Vincent D'Onofrio when he meets him for the first time. After that he speaks his peace and then its "Business as usual", which reminds us of what he really is. A businessman. When the film ends its Cartlidges presence that stays in our minds. The wrong actress would have made this film totally forgettable. Instead, Cartlidge made her character interesting to watch and the shortcomings come from the script. Cartlidge leaves another indelible impression.
- rosscinema
- Mar 16, 2003
- Permalink
quiet desperation
Claire Dolan (Katrin Cartlidge) is a Manhattan call girl. She is still in debt to her pimp Roland Cain (Colm Meaney) who has been paying for her mother's care. After her mother dies, she runs off to Newark to her cousin without telling Cain. She starts working at a hair salon and dating cab driver Elton Garrett (Vincent D'Onofrio). She wants to start a family but then Cain finds her. He takes her back to Manhattan to work off her debt.
Katrin Cartlidge delivers a powerful quiet performance. Colm Meaney is able to bring a threatening menace. Writer/director Lodge Kerrigan brings a quiet desperation to this movie. The quietness is non-traditional but effective for what this movie is about.
Katrin Cartlidge delivers a powerful quiet performance. Colm Meaney is able to bring a threatening menace. Writer/director Lodge Kerrigan brings a quiet desperation to this movie. The quietness is non-traditional but effective for what this movie is about.
- SnoopyStyle
- May 22, 2015
- Permalink
a film about life's deficiency.
It's a movie about the impossibility to be near to someone. It is also about the emptiness of (modern) life, the mechanical way sex has entered our world and the human deficiency. Claire is victim of a obviously broken family and a lonely mother (no one at the funeral except the daughter) and she (Claire) is likely to repeat this way of life. The last frame , alone, in a dark room softly singing for her fetus. (it's heartbreaking) Probably did she lend the money for her mother from a member of the soprano family. The sex with well to do "gentlemen" is depressing to see. It lingers in your mind. The taxi driver is a nice guy but has not the stamina to do the right thing en can't cope with what he suspects Claire is doing. Also a deficiency and he has to hire a call girl to understand. It is a pessimistic view the director made us aware of in his film. But what a masterly filmed movie. every still is right at the point en he shocks you, see the way the money collector disposes of the cat! And what a nice family man he is. It is all very depressing and very of our time and very very good indeed.
Art Of Whore - Very Good, but flawed drama
Katrin Cartlidge stars as Claire Dolan a high-class, but jaded Irish call-girl, turning tricks for her pimp, a menacing Colm Meaney (as Roland Cain) after her mother dies Claire wants to become a mother and meets a good-natured if slightly stalker-ish cab driver, Elton Garrett (an emotionally complex Vincent D'Onofrio).
I've seen Lodge Kerrigan's earlier film Clean, Shaven. Arguably one of the best obscure films of the 90s. Claire Dolan has a similar style in that it is social-realist and filmed almost like a documentary. It also has a clinical, sterile approach with minimal lighting,set design and even dialogue. In all honesty this is the film's biggest fault; it feels soulless. The scenes were I should feel more for the characters involved, I just didn't. That's not to say the film isn't engaging. There's enough drama to keep it interesting and with a runtime of just over 90 minutes it moves along at a fair pace. It also doesn't scrimp on the sex scenes with some fairly explicit scenes.
The film is believable in terms of story. I couldn't connect with any of the characters. That's not a slight on the acting, everyone is excellent; I just didn't feel for them. Colm Meaney is good in everything, but it is rare for him to play malicious characters. His roles are often reduced to Irish gangsters, priests or fatherly guys. It's nice to see him being cast against type. Katrin Cartlidge is an excellent and an underrated actress. I first saw her in Naked (1993) and despite having the chops she never really became an A-lister. She is a bit cold and austere in this role, which I'm sure is intentional, but not really convincing as a call-girl. Compare and contrast with "Secret Diaries Of A Call Girl" while a total fantasy much like the book itself in omitting the more sinister aspects; Billie Piper had the look and glamour of a stereotypical call girl.
It's a difficult film to see which is a shame. While not a brilliant film I preferred almost lost British drama, Prostitute (1980), Import/Export (2007) and Call Girl (2012). Claire Dolan does everything right, but it just didn't click with me.
I've seen Lodge Kerrigan's earlier film Clean, Shaven. Arguably one of the best obscure films of the 90s. Claire Dolan has a similar style in that it is social-realist and filmed almost like a documentary. It also has a clinical, sterile approach with minimal lighting,set design and even dialogue. In all honesty this is the film's biggest fault; it feels soulless. The scenes were I should feel more for the characters involved, I just didn't. That's not to say the film isn't engaging. There's enough drama to keep it interesting and with a runtime of just over 90 minutes it moves along at a fair pace. It also doesn't scrimp on the sex scenes with some fairly explicit scenes.
The film is believable in terms of story. I couldn't connect with any of the characters. That's not a slight on the acting, everyone is excellent; I just didn't feel for them. Colm Meaney is good in everything, but it is rare for him to play malicious characters. His roles are often reduced to Irish gangsters, priests or fatherly guys. It's nice to see him being cast against type. Katrin Cartlidge is an excellent and an underrated actress. I first saw her in Naked (1993) and despite having the chops she never really became an A-lister. She is a bit cold and austere in this role, which I'm sure is intentional, but not really convincing as a call-girl. Compare and contrast with "Secret Diaries Of A Call Girl" while a total fantasy much like the book itself in omitting the more sinister aspects; Billie Piper had the look and glamour of a stereotypical call girl.
It's a difficult film to see which is a shame. While not a brilliant film I preferred almost lost British drama, Prostitute (1980), Import/Export (2007) and Call Girl (2012). Claire Dolan does everything right, but it just didn't click with me.
- ninjaalexs
- Nov 29, 2021
- Permalink
Brilliant, cold and extremely moving.
Brilliant acting, astonishing directing, I can't understand why "Claire Dolan" got such a small mark in the users' vote. Where were you people when this movie and I needed you ???
Engrossing Inde about Prostitute
- vitaleralphlouis
- Jul 26, 2009
- Permalink
Terrible...
Probably the worst film I've ever seen, the acting and story were terrible and I almost fell asleep. The only good actor was Colm Meaney. I had the impression to see the same scenes again and again until the end, no emotion, no charisma...nothing !
An unsettling film. Worth seeing, by all means.
I was really impressed by Kerrigan's first film, Clean, Shaven. The tension and altered world view presented in that movie stuck with me for a long time. So, I was excited to see a new film from Kerrigan.
Claire Dolan is definitely worth seeing. Once again, that same sense of tension is present--some feeling that all is not right in the world, that was first expressed in Clean, Shaven. This time, though, instead of seeing the world through the eyes of a schizophrenic man, we look in on the world of a high-priced prostitute. The death of her mother, and her advancing age have brought her to a crossroads in her life. Can she quit the business?
Catlidge is really good as the title character, a jaded, professional woman. And Vincent d'Onofrio and Colm Meaney are really excellent in the two supporting roles.
Overall, this film reminded me a lot of some of the Cronenberg output, minus the horror/gore. A cold, detached, and very cynical character study.
Claire Dolan is definitely worth seeing. Once again, that same sense of tension is present--some feeling that all is not right in the world, that was first expressed in Clean, Shaven. This time, though, instead of seeing the world through the eyes of a schizophrenic man, we look in on the world of a high-priced prostitute. The death of her mother, and her advancing age have brought her to a crossroads in her life. Can she quit the business?
Catlidge is really good as the title character, a jaded, professional woman. And Vincent d'Onofrio and Colm Meaney are really excellent in the two supporting roles.
Overall, this film reminded me a lot of some of the Cronenberg output, minus the horror/gore. A cold, detached, and very cynical character study.
This movie is a great piece of art but somewhat unrealistic
This is a profound movie; it is quite deep in it's implications, certainly not a movie that you would go to for a date as it really does not leave one feeling good. Many people have discussed the psychological overtones to this film, and all the comments do touch on something important though they really miss one point. The point they miss is that this movie has a paradox in it that is as much of a plot buster as the watch in "Somewhere in Time" (read the "goofs" section for that movie if you are unfamiliar with what I just mentioned). The paradox really comes down to the statement by the character Roland Cain that Claire is just a whore and will always be a whore. Incidentally, Colm Meaney does NOT play a pimp like a true pimp. True pimps are some of the ugliest (personality wise I mean) people you could ever imagine and most are worse than you could even imagine. His character, as a pimp, is actually quite lovable- as pimps go. In that profession his pimp would be considered a "choir boy". That is certainly one very unrealistic aspect of the movie.
Anyway, the movie portrays Claire making a living as a prostitute in order to pay off a monetary debt that she and her mother owes the pimp for bringing them from Ireland to the United States (and presumably for the nursing home costs for her mother). After her mother's death early on in the movie (One observation - IMHO Karin Cartlidge did not act the scenes concerning the mother's death with the depth of emotion that one would expect from such a great actress. This may be due to the fact that, in real life, she never did go through the trauma of burying her mother) Claire decides to sneak away from her pimp and start an honest life elsewhere. The movie then shows that the pimp tracks her down and forces her back to the lifestyle of prostitution. That is the paradox of the movie. Obviously, contrary to the pimps opinion, she is not a "born whore" - she was driven to desperate measures by desperate circumstances; basically to take care of her mother. When Claire no longer had that obligation then she did try to leave. The film really shows no reason why she could not have remained clear of the clutches of her pimp. Even though he found her she only had to call the police and that would have ended everything. It may seem trite, but police do intervene in that situation to save the "dasmal in distress". They love to. Cops I know (and most cops are of this mindset) will tolerate prostitution. Once in a while, for show, a prostitute will be arrested and spend a night in jail but other than that it is pretty much a "live and let live" mindset with the police concerning prostitutes. But, the police have only scorn for pimps. They hate them, and will not waste an opportunity to put them in a state pen. The pimps know that, so they generally will not stalk the girl and force her back into the lifestyle if she does break away.
The film has an interesting look, but it would be highly unlikely to occur in real life. The taxi driver, Elton Garrett, is a representation of people of that sort who do, in reality, have a hard time in life. Such people do exist and their existence is, at times, bleak.
Anyway, the movie portrays Claire making a living as a prostitute in order to pay off a monetary debt that she and her mother owes the pimp for bringing them from Ireland to the United States (and presumably for the nursing home costs for her mother). After her mother's death early on in the movie (One observation - IMHO Karin Cartlidge did not act the scenes concerning the mother's death with the depth of emotion that one would expect from such a great actress. This may be due to the fact that, in real life, she never did go through the trauma of burying her mother) Claire decides to sneak away from her pimp and start an honest life elsewhere. The movie then shows that the pimp tracks her down and forces her back to the lifestyle of prostitution. That is the paradox of the movie. Obviously, contrary to the pimps opinion, she is not a "born whore" - she was driven to desperate measures by desperate circumstances; basically to take care of her mother. When Claire no longer had that obligation then she did try to leave. The film really shows no reason why she could not have remained clear of the clutches of her pimp. Even though he found her she only had to call the police and that would have ended everything. It may seem trite, but police do intervene in that situation to save the "dasmal in distress". They love to. Cops I know (and most cops are of this mindset) will tolerate prostitution. Once in a while, for show, a prostitute will be arrested and spend a night in jail but other than that it is pretty much a "live and let live" mindset with the police concerning prostitutes. But, the police have only scorn for pimps. They hate them, and will not waste an opportunity to put them in a state pen. The pimps know that, so they generally will not stalk the girl and force her back into the lifestyle if she does break away.
The film has an interesting look, but it would be highly unlikely to occur in real life. The taxi driver, Elton Garrett, is a representation of people of that sort who do, in reality, have a hard time in life. Such people do exist and their existence is, at times, bleak.
- artisticengineer
- Aug 12, 2006
- Permalink
very thorough and subtle film
i would like to add one comment to this film, the only one that is presently listed being a negative comment. this is among the three best films i have seen in recent years. clearly lodge kerrigan has a good grasp on what cinematography is, and this film shows his personal interpretation of that very substance. kathleen kartlidge is wonderful and vincent d'onofrio very touching. i do not know if anyone has paid good attention to the soundtrack. it is very subtly constructed to indicate the actresses' mindstates, and it is a very unique way of using sound to add meaning.
- marcopoloni
- Mar 3, 2000
- Permalink