“Winter’s Tale” is a story about destiny. It also has spirit guides in the form of flying white horses. That’s the first hint that it has a larger focus on the fantasy aspect of it, and it’s almost like a fairy tale with all of its themes. There’s an idea proposed that when people die, they don’t go up to Heaven per sé but they go up into a place in the sky, where their souls become the stars that we see at night. The film also proposes the idea that everyone has one miracle within them to give to someone else. This is the story of Peter Lake’s miracle.
Peter Lake (Colin Farrell) is an ordinary thief who is running from a mob of fancily dressed folks at the beginning of the film, led by Pearly Soames (Russell Crowe). He escapes them by hopping on a flying white horse and proceeds to wander the streets until his fancy horse stops in front of a big house. He decides to go into the house with intentions to rob the house, but instead falls in love with a young dying heiress who lives there, named Beverly Penn (Jessica Brown Findlay). He loves her deeply and when he learns he has the gift of reincarnation, he sets out to save her.
The film also expresses the idea that light connects everything. The dying heiress Beverly in one scene is talking about this in what at first seems like a crazy daze, that the sicker she gets she sees that light connects everything. It doesn’t make a lot of sense, is why some might ask “What are you going on about?” The villain of the film also likes light, a master thief who really likes pebbles and fancy stones. It’s because when he puts the dish full of pebbles against the window it makes a funny holographic psychic shape… Or something like that? Anyway, some might legitimately think he’s a tall leprechaun because of his fascination with all the valuables, and since there are flying horses, it wouldn’t be far-fetched for him to ride a horse to the end of the rainbow.
Well, he’s not a leprechaun but he’s a demonic evil boss that you certainly wouldn’t want. The higher power he works for is played by a surprise actor one wouldn’t expect in the role, but do yourselves a favor, and if you wanted to be surprised, don’t browse beyond principal cast of the film on websites. Pearly leads his large group of other fancily dressed thieves who wear suits and those black bowl hats, the ones that Charlie Chaplin would wear. He’s a god-awful villain who has been “blackening souls and crushing miracles” for as long as he remembers. Crowe is a really good actor who makes do with the laughably bad dialogue he’s given; and he deserves praise for delivering some of his lines with a straight face. But I do wonder why he didn’t question the silliness of head-butting Farrell repeatedly in the face. He’s in this sorta bounty hunting business again after his turn in “Les Miserables,” but at least he didn’t have an awful accent in that one, but we should be thankful he’s not singing his stupid lines in this one. Why these folks want to crush miracles and have such a problem with goodness happening isn’t really explained. But all we have to know is this guy is evil and he has a bone to pick with Peter Lake.
The way it shows good vs. evil is through, at least one way that I picked up on, the different colours of horses. Peter rides a white one, Pearly has a black one. Anyway, the romance between Peter and Beverly is heartwarming; but it’s elevated to another greater level by the performances given by Farrell and Findlay. The disease Bev has is consumption; and she can never let her body heat get too high. It’s a bit of a pity that their romance is great and that the story in general can be so laughably awful. I found myself laughing in scenes that were supposed to be serious, but it’s so poorly written many can’t take it seriously at all. This is one of the most unintentionally funny films I’ve seen in the past few years; so if you want to see it for a laugh, give it a shot. There are five occasions where, even though it’s not a comedy, I was laughing my ass off – and I mean, when it’s laughably bad, it’s hilarious. There are some profoundly heart-warming scenes, but so much of this is profoundly stupid. I mean there’s some CGI effects that make people’s faces all evil-like and there’s one character who, when he’s finished talking, viciously turns off the light above his head. How silly. I think this is my early favourite for the “so bad it’s almost good” movie of 2014.
The idea that everything is connected by light is just too uninspired for me, and Pearly’s motivations to get rid of Lake are stupid and uninspired, too. There are some good aspects. I like the performances by Colin Farrell and Jessica Brown Findlay; I think their chemistry is electric. The cinematography for this part period-piece is quite great; but it seems like the authour Mark Helprin intended this to be a mythical New York, and it looks pretty ordinary to me. It seems like that is writer/director’s Akiva Goldsmith’s fault with that aspect. (I might give the book a shot, this seems like it’d be good in different hands.) The third act is heartwarming, and the film’s finest stretch.
This is where Jennifer Connelly’s character is introduced late in the film. The film starts in 1914, but Lake meets her in the year 2014 making the fantastical flick span a whole century. What Lake did for those one hundred years with no memory is what I’d like to know. Job interviewers would say: “What’s your name? Do you have any references?” He’d answer “I don’t know” to both, and never get hired. And what I’d like to know is if Lake is human or if he’s a supernatural being? And why does Lake have an Irish accent if he was raised in Brooklyn? Pearly’s accent surely couldn’t be influential if it’s so awful, right? These are things that would be simple to explain, but we never get that convenience.