Reading Almásy words from his book, his constant mentioning of a woman “K” – and Katherine has to assume that is her. Kristin Scott Thomas is exception in these quiet, subtle moments. Ralph Fiennes compared her present on screen to that of Marlene Dietrich. I’d also offer vague comparisons to a certain Greta Garbo here. “Am I the K in your book? I feel I must be.” – Kristin Scott Thomas actually told Anthony Minghella before he officially cast her that she is the K in his film, Though Almásy hides from the inevitable romance, Katherine returns to him. Katherine slaps him (a fury of attraction), and they passionately embrace. Again, the stunning, layered production design only invites the heat. Almost feels like they are partly outdoors. After officially consummating their affair, Katherine joins Almásy in the bath. That checkered background again. Almásy foolishly tells Katherine that when she goes she must forget him, thus breaking the current joy of romance. Later, Almásy and Katherine pull a cracker – it’s Christmas. To get away from a gathering, he asks her to swoon, and that he will catch her. Notice again the division between the squares. With little hesitation, surrounded by feasting military, swoon she does. Katherine, in white, heads inside, where the waiting Almásy can be seen through the grid window frame. Almásy’s fascination with grooves on a woman’s body continues to the erotic, subtle nature of the film. The framing of Katherine’s naked back imitates the lines of the desert hills from Almásy’s comparison. A subtle hand hold as the couple re-emerge into the world – and the light. Hana briefly watching Kip as her attraction for him grows. The only shot in the film that directly depicts the action of war battle. Caravaggio’s flashback, moments before he is discovered. As he attempts to sneak away he is spotted and held at gunpoint. Everyone but Caravaggio drop to the ground. Aerial shot of the now imprisoned Caravaggio through bars – similar shot of Hana’s view as she looks down at Almásy in bed at the monastery. From inside the room, Caavaggio lit from the sun seeping through the ceiling window. The Muslim nurse in white symbolically comes down the stairs… …and she is ordered to do the horrific deed – cutting off Caravaggio’s thumbs. As we return to the monastery, Caravaggio revealing his wounds to Almásy, to whom he holds responsible. An outdoor cinema as Katherine waits for Almásy. The look on her face is a sorrow deeper than the movie’s impact. When Almásy arrives, Katherine calls off the affair, it is too dangerous. As she leaves she bangs her head on the pole, it just makes the goodbye even more painful. For us and them. Almásy joins the party later, clearly drunk. The scene establishing shots in The English Patient are consistently impressive. Mirrored from earlier, Almásy watches Katherine through the grid window. Almásy again corners her, but it is the reluctance that prevails over the passion – their encounter this time is not so open as she turns her back on him. Hana discovers small flames outside the monastery. They lead her away and across the grounds… …and into a room… …where Kip is waiting for her. They both ride Kip’s motorcycle to the church.
I make sure it's known the company's in business. I'd see that it had a certain panache. That's what I'm good at. Not the work, not the work... the presentation.
