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The specific emotional triggers she kicks in the movie range from the profoundly beautiful (hiking, with her father, in her teens) to the immediately unsettling (the week after the infamous murder, she takes a daytime walk through the town of Kars to reconnoiter and map a route for Paul, the accused, who is arrested in the afternoon). She’s more of a natural actress than she’s led us to believe, and the movie’s consistent visual cues of her natural settings and natural reactions to them are invaluable. Perhaps our best glimpse of her character comes in that brief moment when she has Paul alone in the cell where he is to be questioned. He attempts to find some sympathy in her.
During that initial court hearing, which is played for all it’s worth in Johnnie, Christina is polite and smiling, even flirtatious. She gathers her papers in order, tries to remain composed. She stands before the judge and speaks earnestly with her head tilted, her posture ultra-serious.
The only time she sheds a smile is when she looks at Paul. With her hands held in plain sight, one on the edge of her desk, the other folded before her, she smiles warmly and brightly, although it’s obvious that she’s holding back tears. And when she smiles, it’s because she’s happy he’s here, brought to justice — not because of him or because she’s vulnerable or weak.
“In my 50 years,” Blanchett said in an early appearance for this review, “I think mine has been the most interesting.” I don’t have the heart to tell her that, in all those years, she has rarely spoken so candidly, or so movingly, about her life. She has performed many of the jobs we come to expect from stars. She can pop those inhuman glamor shots off the screen. She can be regal. She can be funny. She can be heartbreaking. She can’t be, any more than any other star can, a total mystery. But Lydia, in the hands of Paul Verhoeven, is very much a mystery — a complex, terrifying and beloved one. We should all take great joy from that. ♦ d2c66b5586