The Governess (1998)

The Worst Film Ever

Admirable film.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The Governess was, by far, a very pitiful film. I do not use this word loosely, as it honestly was a poor excuse for a movie. I finished watching this feature with only one word on my mind … "why"? Honestly, you could use this question at the end of every scene of this film and it would seem like it fit. There were so many inconsistencies that lead to a lack of development (both in the story and in the characters) which ultimately lead to a very confusing film with actors walking through the motions instead of giving any explanation. Scenes would occur with no foreshadowing, understanding, or drive to a complete ending. It was as if I was watching several different ideas thrown together without really any resolution. Actors were setting events in motion that did not seem to fit their character or really were resolved. This was my biggest issue with this film. The complete and utter lack of structure to this film brought all specks of foundation crumbling down with a genuine "ripple-effect" being felt throughout the rest of the film as a result.Let me explain myself further on this lack of consistency throughout the film. I would liken this film to a bowl of lumpy oatmeal that had a zebra in it. It made no sense nor was there any logic behind it all. Minnie Driver was the worst culprit of this deed. Her character's lines were drawn very fuzzy and nearly transparent. She would do things like talk about sex all the time with her sister, but yet she seemed very open to sexual experiences all the time. She has her first moment of passion in this film, and there is no pain or excitement. It nonchalantly happens, and this just didn't seem to fit the original conversation that we had at the beginning of the film with Rosina and her sister. She is a very intelligent woman that accidentally finds a solution to Wilkinson's problem and suddenly wants full rights to his invention? That was confusing and completely random. Is it not obvious to anyone else that her teaching methods were non-existent. Anyone in their right mind could see that she wasn't teaching Cavendish's daughter anything. The sudden and awkward relationship that randomly forms between Driver and Jonathan Rhys-Meyers nearly had me laughing out loud. I thought maybe I had discovered some magic in this film as Rhys-Meyers literally "poofed" into the scene and suddenly caused some unneeded drama. It felt that the director (or writer) was thinking that the original story was going nowhere fast, so by adding this random character we may be able to advance the plot a bit (or confuse the lesser film enthusiasts). Well, it didn't fool me, I saw that he was nearly a "cut-and-paste" character used to strengthen an already weakened story. Don't get me started on the ending, which had no consistency to the rest of the story. Again using the "cut-and-paste" method, the writer of this film needed a way to just end the story, and this was the only solution they could arrive to. It is sad when actors are forced to do things out of character … but I guess that is the name of the game in Hollywood. Fix until completely broken, or at least salvageable.The remainder of the story was unexciting dribble. There were maybe a handful of neat cinematography moments where you could see that there was one sliver of creativity trying to peak through coupled with some bars of decent, period piece music, but nothing to write to Grandma about. More family structure with some stronger introductions could have strengthened this film a bit more, but as I stated before, by leaving open-ended scenes just lying around the entire film, you will experience a crack in your foundation. What may seem like a sturdy story, will eventually wear down over time, and by the end of this film I felt that the house was crumbling down on top of me. Wilkinson plays his normal self in this film, while Driver apparently did not want to get naked, but everyone else had too (I will have to see a doctor after those images were burned into my eyes … eeewwww). Also, she wore the same dress everyday. That was disgusting and I could smell her through the television. Sex and dirty laundry. Now there is a great film for you! There just seemed to be some potential floating around here, but instead it was just rubbish. Nothing was answered, questions seemed to fall like snow in Alaska, and mediocrity seemed to reign supreme.Overall, this could have been a decent film that combined the powerful themes of science and love together, but instead it was just pitiful. I cannot stress enough the disturbing fact that characters were going through motions without any sort of pre-explanation. I don't need cinematic moments handed to me like a child, but something should have been done to build a foundation. Just remember the oatmeal with a zebra analogy that I used. If you were as confused about that as I was, then you will completely understand the film The Governess, while if you prefer zebras in your oatmeal … then, maybe this film is for you!Grade: * out of *****

Sandra Goldbacher's premiere as a feature film writer/director is groundbreaking. The discomfort some feel regarding the character Rosina (played by Minnie Driver) as a 19th century Jewess disguising herself as a Protestant in order to work as a governess can be attributed to the purposeful destabilization of the social hierarchy both within the film and without. Rosina (who calls herself Mary Blackchurch in her disguise) plays several roles in the household, each of which she makes her own in very subtle but important ways. This film is not necessarily satiating plot-wise, but is richly rewarding for its commentary on the role of women.

I usually glean valuable insights into films from the user comments at IMDB, but reading the critiques of `The Governess' I feel that many of the commentaries are colour-blind, missing the fine detail--how many ways can I say the same thing--there's more to this period piece than seems to have met the common eye. It's not just a sepia-and-white romantic snapshot, as some commentators allege, but a moving picture in subtle hues.In the main, many seem to have missed the driving force behind the unusual alliance at the core of the film: why Rosina falls for the older Cavendish and not his fair-faced but very green son. It's obviously not for his looks or his years-notwithstanding Rosina's grief for her suddenly deceased father, and all the Freudian implications of her being `floated' above her bed.It's self-evident in the film's unfolding that the sparks catch where they do because of a common pursuit and a shared passion, and one that is especially exciting to these two people because it gives them the sense they are innovating and creating something valuable. Rosina is lonely, bereft, and far from home, in many different senses. When she finds herself suddenly welcomed and valued, drawn toward fixing beauty and expressing herself, it's natural for her gratitude and sense of being closely connected to flower into erotic love for the man who opens that opportunity for her. Had her nasty and narcissistic `mistress' been the creative and welcoming one, rather than her `master', things could have been quite different and less socially explosive (and made for much less interesting cinema.)I'm not without quibbles about this movie-I think the governess has far too much `free' time and is far too able to get herself into trouble in the heart of this remotely situated family, without being caught. She's also far too unworried about being caught. A young woman in her circumstances would have to be afraid of social ruin (and a lot more careful about her fertility) than Director/writer Sandra Goldbacher's main character. But this is a special film, notwithstanding its anachronistic feminism. The special flavour of the Jewish woman's culture and the prejudice of English society against it, the photographic odyssey of Rosina and Cavendish, the believable pleasures and pain of the characters all make for a real find in a film not given due attention.

I enjoyed this movie very much. However, I am still a bit baffled as to what the entire point of the movie was. I also thought that another actress as the lead would have added to the dramatic essence of this picture. Really though, Minnie Driver must have been delusional to choose that mean, confused man over the young and handsome Jonathan Rhys Meyers. Although I enjoyed the movie, Minnie Driver's character annoyed me quite a bit. She was too weak at one moment, and then at the next she was supposed to be in complete control of everything. Besides that, the movie was wonderful and it must have been great if I can not enjoy the main actress, and yet still find myself uncontrollably drawn to the story.