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Esther Kahn

2000, Movie, NR, 163 mins

Esther Kahn: Review

ESTHER KAHN
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Not only is Arnaud Desplechin's adaptation of a largely forgotten short story by Arthur Symons a fascinating portrait of a late 19th-century actress, but it also ranks among the best films ever made about the acting profession. Born into a large family of Jewish immigrants and raised on the foul streets of London's sooty East End, Esther Kahn (Summer Phoenix) always stood apart from her intelligent brother and sisters. Dull, lazy and barely literate, Esther can't muster any real interest in the world around her: It's hard not to suspect she develops a talent for mimicry only to save herself from having to develop her own personality. Her talent also qualifies her for the one thing in the world she does seem to care about: the theater. Transfixed by a performance at the local Yiddish theater, Esther decides to pursue the craft as one would any other job. She may not be the world's greatest actress, but walking the boards sure beats pricking her fingers in her father's tailor's shop. A walk-on part in a local production leads to bigger ones in larger theatrical companies, and Esther soon lands a role in a production of The Merchant of Venice. At an early rehearsal she meets Nathan (Ian Holm), a middling actor who turns out to be a brilliant teacher. Nathan instantly recognizes Esther's problem: Her performances are devoid of real feeling, and she needs to make an emotional breakthrough in order to become a truly great actress. And when that breakthrough does finally come, it's devastating — unfortunately, it comes minutes before Esther is scheduled to take the stage as Hedda Gabler, her first starring role. Desplechin is truly an actor's director — his previous feature, the complex romantic comedy MY SEX LIFE... (OR HOW I GOT INTO AN ARGUMENT), is constructed entirely out of his ensemble cast's brilliant performances — and his unerring sense of the profession serves him well. Desplechin's casting of the relatively untried Phoenix is an inspired risk that pays off — she brings a raw, animalistic quality to Esther that also suits the film's naturalism — and wisely spares her the actual task of performing Ibsen. And Holm is simply one of our greatest living actors; the scenes in which Nathan tutors his pupil in the mechanics and psychology of acting are spellbinding. Esther Kahn couldn't have asked for a better mentor. leave a comment --Ken Fox
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