Mike Figgis has led a fascinating life — perhaps he should make an autobiographical film someday.
Born in Kenya, Figgis moved with his parents to Northern England at the age of 8 and later studied music in London, where he labored in an obscure rhythm-and-blues band with then-unknown Bryan Ferry. Later he was a musician and performer for an experimental theater troupe, with which he toured the world.
Eventually he moved into filmmaking, first for British television, then with his first shot at a feature, "Stormy Monday," which he wrote, directed and for which he composed the music. The film made a meager profit on the art-house circuit, despite a
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top-of-the-line cast (Melanie Griffith, Tommy Lee Jones, Sting) and led to his second film — "Internal Affairs," for which he was a director for hire. The film garnered solid notices for Richard Gere, Andy Garcia, William Baldwin, as well as Figgis himself.
All of this has nothing to do with Figgis' latest film, "Liebestraum," but it's worth noting because his journey through these various show-biz waters is so much more interesting than anything in this movie.
The title is, of course, taken from the musical piece by Franz Liszt, which is playing on a phonograph when the opening scene — a 38-year-old murder in a dark, urban city — takes place.
Then we move to the present as an expert on architecture (Kevin Anderson), an author and college professor, visits the same city. Adopted as a child, he has been summoned by his real mother (Kim Novak), who is on her death bed in a hospital.
While there, Anderson becomes fascinated by an old cast-iron building scheduled to be demolished. Coincidentally, it is being torn down by an old college chum (Bill Pullman), whose wife (Pamela Gidley) becomes as strong an attraction to Anderson as the building.
All too quickly, it becomes apparent how these puzzle pieces link together in a deja vu plot. Will history repeat itself, with murder occurring under similar circumstances in the same place?
Figgis, as always, is more interested in the telling than in the story, and "Liebestraum" has some moments of striking visual virtuosity. And his moody score is most welcome to the atmosphere of this film noir effort.
But the story is so pedestrian, the pacing so plodding and the overall effect so pretentious that it really doesn't matter. A favorite cliche of critics applies here, "Liebestraum" is all style and no substance.
Where "Stormy Monday" managed to blend character, story and style, this one skims over the first two elements. And casting an old pro like Kim Novak in the thankless role of a confined, writhing old hag is akin to casting Lillian Gish as a serial killer. (On a smaller scale, one wonders what Catherine Hicks is doing here as a foul-mouthed minor character.)
In short, "Liebestraum" is a thriller without thrills, so boring that audiences will likely be snoozing before it's over.
"Liebestraum" is rated R for violence, sex, nudity, profanity, vulgarity.