(Forbidden love among the pyramids! Par-tay! Or not, as the case may be...)
CAST: Patricia Clarkson, Alexander Siddig, Elena Annaya, Tom McCamus, Ammina Annabi.
DIRECTOR: Ruba Nadda
WARNING: Some SPOILERS and a great movie poster and tagline searching for a more powerful movie.
Chemistry. What is it?
Our friendly bible dictionary.com defines "chemistry" as "the science of the composition of substances and other various form of matter." Another definition - and one more germane to cinematic discussion - characterizes "chemistry" as "the rapport and interaction between one personality and another." In other words, chemistry as used in the context of movies is not unlike when it is used in the context of human relationships: it's that undefinable something that makes you click with one person and run off on a road trip of Italy together - but makes you block another person's incoming emails and wish you'd never met the asshole.
When it comes to films, as with relationships, chemistry can make or break. An electric connection between two actors can make an average film better (Katherine Heigl and Gerard Butler in THE UGLY TRUTH, Richard Gere and Julia Roberts in RUNAWAY BRIDE, Russell Crowe and Meg Ryan in PROOF OF LIFE, Kevin Costner and Robin Wright in MESSAGE IN A BOTTLE, Jeff Bridges and Rachel Ward in AGAINST ALL ODDS). It can also make an already good film even more enjoyable (Kevin Costner and Renee Russo in TIN CUP, Kevin Costner and Sean Young in NO WAY OUT, Michael Douglas and Sharon Stone in BASIC INSTINCT, Catherine Zeta-Jones and Aaron Eckhart in NO RESERVATIONS, the ghost-busting quartet of GHOSTBUSTERS).
And, of course, the right chemistry can also send an already great film into the stratosphere (James Stewart and Grace Kelly in REAR WINDOW, Cary Grant and Grace Kelly in TO CATCH A THIEF, Heath Ledger and Jake Gylenhaal in BROKEBACK MOUNTAIN, Humphrey Bogart and Ingrid Bergman in CASABLANCA). In fact, if you think about all the movies that you love, it probably has just as much to do with electricity of the main players as it does with the film's execution. The best plot and characters in the world are vulnerable to a cast with zero connection between its principal members.
Then there's the flip side of things: movies that could've been better if the chemistry between its leads were more potent. I firmly believe that SLIVER could've been a much better film if, in addition to several script re-writes and restoring the original provocative ending, the producers would have paired Sharon Stone with someone she could ignite the screen with. Billy Baldwin is one of the sexiest, most handsome men on Earth, but chemistry is not predicated on looks, and his connection to Stone in that film was a, well, flaccid one. Not surprising since they reportedly fought like cats-and-dogs during filming.
Another example would be Katherine Heigl and James Marsden in 27 DRESSES, where they seemed more like a girl and her gay best bud. Then there's BATMAN BEGINS, an effective film all-around, except when it comes to the quasi-romantic subplot between Christian Bale and Katie Holmes. I feel that Holmes has taken quite the unfair rap for this, with critics and fan-boys blaming her performance. Truth is, her performance is just fine and she holds her own with her more accomplished castmates. The problem is her lukewarm connection to Bale, who she seems to have a more "brother-sister" link with. And that's the worse thing for a romantic pairing. Besides coming across as a girl and her gay best bud, that is.
Anyhow, that lengthy discourse is just my way of stating that chemistry, despite appearances, is very hard to get right in films. And few things disappoint me more than a film that has such potential to soar - but is prevented from doing so by a curious lack of energy between the leads.
It is my sad duty to write that the otherwise engaging and lovely CAIRO TIME is one such film. While it has one of the most beautiful posters and elegant taglines ("An Adventure of the Heart") I've ever seen, which promises emotional fireworks mingling with unspoken passions, all that potential ultimately doesn't translate to the film itself. And its because of the rather weak chemistry between leads Patricia Clarkson and Alexander Siddig. This is no fault of theirs, though, as they both deliver wonderful performances. We just don't believe that they're unexpected soulmates - which is the ostensible emotional fulcrum of CAIRO TIME.
The film begins with NYC magazine editor Juliet Grant (Patricia Clarkson) arriving in Cairo to be with hubby Mark (Tom McCamus), who works for the UN and has been in Egypt for awhile now trying to help defuse a situation in Gaza. Because Mark is too busy to meet Juliette in person, he sends his former bodyguard, Tareq Khalifa (Alexander Siddig), as a one-man welcome wagon.
On their way out of the airport, Juliet and Tareq run into the sultry Yasmeen (Ammina Annabi). You don't have to be psychic to pick up on the fact that Yasmeen and Tareq had a thing in the past - and it goes without saying that Juliet picks up on this fact the same way Carrie Bradshaw might pick up a pair of marked-down Manolo Blahniks: very, very fast. After that, ahem, brief encounter, Tareq takes Juliet to her hotel and tells her the following: (1) Mark will arrive the next day to be with her; (2) if she needs anything, she could call him immediately; and (3) he warns her not to go walking around alone on the streets - even in the daytime.
Actually, he doesn't tell her that last thing. Maybe if he did, she would've listened and stayed put in the hotel - instead of getting sexually-harassed by twentysomething Egyptian dudes while taking a stroll. Shaken by this encounter, Juliet resorts to hanging out with some of Mark's colleagues while she waits for him to finish whatever silly thing he's doing in Gaza. This is how she meets Kathryn (Elena Annaya).
A gorgeous South American who is not afraid to speak her mind and march to her own drummer, Kathryn strikes up an instant friendship with Juliet. During a day trip to the "white desert" outside Cairo, the two women talk shop about world affairs and, uh, just regular affairs. Specifically, Kathryn confesses to Juliet that she once had a torrid affair with a man - and almost left her husband as a result. When asked if she has even experienced such a conflict, Juliet quietly demures and shakes her head. But you just know that the seeds have been planted.
As compatible as Juliet and Kathryn are, though, CAIRO TIME is not a love story between them (it would've been an interesting twist, no?). It's about Juliet and Tareq. Somehow energized by her frank discussion with Elena, Juliet calls Tareq and seeks out his company. They spend the next few days doing the following: (1) walking around downtown Cairo and talking, (2) walking around the outskirts of Cairo and talking, and (3) attending Yasmeen's daughter's wedding - and talking. Yes, folks... there's a lot of talking in this flick.
Now, let's be clear that Juliet's not doing this for any other purpose than being a friend to Tareq. But given her previous conversation with Elena and the fact that Mark is still held up in Gaza - as well as the fact that Tareq is unmarried - is it too farfetched to posit that an unspoken attraction is slowly growing between them? Will they act on it? And what happens when Mark is further delayed from returning to Cairo? Is all this talking going to lead to, well, fucking? Or will whatever is between Juliet and Tareq be yet another entry in the vault of "Loves That Dared Not Speak Their Names?" Will they attend a midnight showing of LOST IN TRANSLATON by the pyramids? Will Mark suggest a threesome?
Whatever happens, you can count on this much: a hot blonde American chick like Juliet apparently has to just step onto the sidewalks of Cairo to get Egyptian men to start rubbing up on her. In other words, she's covered in case the thing with Tareq doesn't pan out.
BUT, SERIOUSLY: As I wrote earlier, I was interested in seeing CAIRO TIME because of its beautiful poster. Plus I'm a huge fan of Ms. Clarkson - who is one of those actresses who express so much by revealing so little. Showing stars Patricia Clarkson and Alexander Siddig standing in front of the golden Egyptian sun and sands, each wearing a pensive expression bordering on the enigmatic, the poster is practically a work of art. Just like Clarkson, it expresses so much by showing so little. Add to that the wonderfully simple (and wonderfully sensual) tagline: "An Adventure of the Heart...", and you have what promises to be a profound and bittersweet romance.
Unfortunately, the only thing bittersweet about CAIRO TIME is just how romantic it could've been. Yes, writer/director Ruba Nadda was obviously going for a more understated approach, and I agree that the most powerful romances are the ones that keep the cards close to the chest. But in the case of CAIRO TIME, while the ingredients are all there, the end result is curiously unsatisfying. Unlike the surprisingly-powerful LOST IN TRANSLATION (on which this film was obviously modeled), CAIRO TIME never comes near the unexpected emotional crest of that earlier film.
Both films are about two people who are thrown together unexpectedly in a foreign location. By spending time together, a surprising kinship forms. This bond is then tested by the inevitable separation that must occur by the movie's end. However, unlike LOST IN TRANSLATION, we never get the sense of a strong bond between Tareq and Juliet. With Bob (Bill Murray) and Charlotte (Scarlett Johanssen) in the earlier film, we are caught off-guard just as much as they are by the realization that they've connected so deeply. This awareness builds throughout LOST IN TRANSLATION, and is cemented during the wonderful scene at the end where Bob whispers something into Charlotte's ear that we are not allowed to hear. The final shot of Bob driving along the highways of Tokyo to fly away is both heartbreaking and uplifting at the same time. That is when we know the film has touched us at our core.
We never get the same sensation with CAIRO TIME. While the connection between Juliet and Tareq is certainly warm and affable, it is not of the simmering variety that hints at affection-about-to-spill-into-love. Clearly, they enjoy each other's company, but at the end when.... well, I won't spoil it. Let me just say that the film's final scenes, while somewhat touching, are nowhere near as powerful as they could've and should've been - or as wrenching as those of LOST IN TRANSLATION. In that film, the vibrant chemistry between Bill Murray and Scarlett Johanssen transcended their ages and background - and perfectly illustrated that love knows no rules.
Patricia Clarkson, as always, is terrific. She conveys a lot of layers to Juliet without being obvious about it. Even when she's sitting around doing nothing, Juliet is riveting to watch. We always get a sense of her mental and emotional wheels turning - even when she appears to be the picture of perfect stillness. This is all due to Ms. Clarkson's formidable talent. It's due to her skills that those final scenes are more touching than they have any right to be. The sight of her face trying to hold back tears is heartbreaking - and heartbreakingly beautiful.
As Tareq, Alexander Siddiq is the picture of quiet graciousness. He holds his own in all of his scenes. Mr. Siddiq clearly has the chops and presence to match Patricia Clarkson, beat by beat, acting-wise. It's in the emotional realm where he doesn't connect with her, which I think is ultimately CAIRO TIME'S biggest flaw. Again, I want to make it clear that this is not Siddiq's fault. He delivers a commanding performance that never falls short. It just goes to show that "chemistry" is more elusive than we think. But when we see it - we know it. I just don't see it here.
As for the supporting performances, Elena Annaya as Kathryn is the standout. She makes Kathryn's forthrightness as refreshing as a glass of cool iced tea under the desert sun. I wish her character had been used more in the story. Meanwhile, Tom McCamus as Mark - the mostly invisible third leg of the central triangle - is adequate, but we don't see him until the very end. Even then he doesn't get to do much, but I suppose he was never meant to, as this is Juliet and Tareq's story.
In the end, CAIRO TIME rides above the average on the strengths of Patricia Clarkson and Alexander Siddiq's performances. But if they'd had more than just a warm connection between them - something more, well, chemical - then perhaps this film would have really lived up to its poster and tagline. Perhaps, then, it really would've been an "An Adventure of the Heart."
Or maybe a more appropriate tagline for CAIRO TIME would have been: "It Is What It Is..."
