{"id":2216,"date":"2018-01-03T08:39:40","date_gmt":"2018-01-03T07:39:40","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-the-party\/"},"modified":"2025-06-16T19:19:12","modified_gmt":"2025-06-16T17:19:12","slug":"review-the-party","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-the-party\/","title":{"rendered":"Review: The Party"},"content":{"rendered":"

The ideal cinematic experience begins in a darkened theater, the film commencing with no prior knowledge. Unburdened by cast details, plot summaries, or even genre expectations, the viewer is wholly immersed. Regrettably, such unspoiled viewings are rare. Typically, I possess a pre-conceived notion of the film I’m about to watch. However, with The Party<\/strong>, I approached it with genuine ignorance.<\/p>\n The calm before the storm.\n

Janet (Kristin Scott Thomas)<\/strong> celebrates her recent promotion with a small gathering. Her husband, Bill (Timothy Spall)<\/strong>, occupies himself with LPs and an increasing intake of wine. Close friend April (Patricia Clarkson)<\/strong> arrives with her partner, Gottfried (Bruno Ganz)<\/strong>, a German proponent of New Age philosophies. The lesbian couple Martha (Cherry Jones)<\/strong> and Jinny (Emily Mortimer)<\/strong> announce they are expecting triplets. Adding to the evening’s complexities, the visibly stressed and possibly inebriated Tom (Cillian Murphy)<\/strong> appears, bearing both a firearm and cocaine. Before the party truly begins, simmering tensions rise to the surface, setting the stage for an unforgettable night.<\/p>\n LPs play a big role in one of the film’s best scenes.\n

The Party<\/em> delivers 71 minutes of compelling cinema. My aforementioned ignorance of the film’s premise allowed for a constant stream of surprises. Written and directed by Sally Potter<\/strong>, a filmmaker active since the 1960s, the film has prompted me to explore her previous works, having shamefully neglected them until now.<\/p>\n

Kristin Scott Thomas (The English Patient<\/strong><\/a>) anchors the film as Janet, the hostess. From the opening scene to the close, she deftly navigates the unfolding chaos. Her reactions feel authentic, creating a tragically comedic experience. I have observed Patricia Clarkson, as April, since her role in The Dead Pool<\/strong> with Clint Eastwood<\/strong>. While her performances haven’t always resonated with me, she is perfectly cast here. Her interactions with Gottfried, her somewhat eccentric partner, are particularly well-executed.<\/p>\n Bruno Ganz is absolutely wonderful.\n

Bruno Ganz garnered widespread recognition for his portrayal of Hitler in the powerful film Der Untergang<\/strong> (2004). Though a particular scene from that film has been somewhat diminished by overuse in online parodies, his role here is a stark departure from that iconic character. He delivers a truly exceptional performance, generating much of the film’s humor.<\/p>\n

Cherry Jones and Emily Mortimer, as Martha and Jinny, are both excellent and would likely be standouts in a lesser film. However, given the overall high quality of the ensemble cast, they are comparatively less memorable.<\/p>\n

Timothy Spall delivers a superb performance as Janet’s husband, Bill. A single shot of him in his armchair, clutching a wine glass in each hand, is particularly striking. Each character harbors secrets, unresolved issues, and personal agendas. Bill serves as a catalyst for these revelations, and Timothy Spall masterfully guides the audience through his character’s complexities.<\/p>\n Never a good sign to go armed to a party.\n

Finally, Cillian Murphy deserves mention. Having followed his career since 28 Days Later<\/strong>, I have consistently been impressed by his performances. However, his work in this film is arguably his finest. He demonstrates impeccable timing and subtly evokes empathy for his character.<\/p>\n

The only criticisms I can offer are that the film feels somewhat brief and a minor plot point at the conclusion was slightly irksome. Detailing it would constitute a significant spoiler. Despite this, the film is rich with humor, darkness, heart, pain, and a sharply intelligent script, complemented by flawless direction. Overall, I found the film to be highly engaging. It is also worth noting the film’s black and white presentation. As I mentioned in my Logan<\/strong><\/a> review, this stylistic choice lends a unique sense of realism.<\/p>\n