The Constant Gardener

The Constant Gardener is a damn serious and damn good drama, after which I wouldn’t be surprised if the currently proclaimed threat of an avian-flu pandemic is just a fake news leading to pharmaceutical companies cashing in on buyers of vaccines. The film is both a criticism of the commercialized nature of our society and a sad love story about two good people who stood up against it. These two levels merge into a long and initially rather cold drama that gradually gets the blood pumping and culminates in a beautiful conclusion. The Greengrass-esque “shaky” camerawork is great together with the calculatedly effective filters (coldly bleak London / sunbaked red-and-yellow Africa). Rachel Weisz and Ralph Fiennes turn in brilliant performances. This is a film that doesn’t need to move you to tears in order to be beautiful. (21/10/2005)

It's a somewhat noir film of modern times. A man is put into a role where he wants to solve his wife's death, he wants to know what happened. The initial idyll turns into a pursuit of the truth, which may not be very kind. The film has interesting moments, politics are included quite tolerably, but I can't help it, I simply didn't enjoy the film. Long and without tension. (27/03/2014)

I didn't know what to expect from The Constant Gardener, and to be honest, I couldn't figure it out even after the opening thirty minutes, when I felt a bit out of place in the merry-go-round of time blending and almost authentic African passages. But then Meirelles quickly hints at the direction he wants to take, letting the story flow more smoothly, and in the last act he sets up for one of the most impressive human dramas in a long time. On the one hand, a look at a current problem, a portrayal of African misery and the dirtiness of our society, and on the other hand, the love of two people whose steps have led them to a position where they automatically become inconvenient in the eyes of a higher power. And all that is combined so perfectly, with great feeling and, above all, thought, that despite the duller start I was not only absolutely satisfied, but maybe even a little touched. Rachel Weisz is really excellent, maybe one of the best actresses of today, but in my eyes she’s a bit overshadowed by Ralph Fiennes, who again pulls the whole film solely on his shoulders, and at least an Oscar nomination would have been appropriate. I definitely recommend it to anyone who is not indifferent to the current African situation. (02/11/2012)

It lacks emotion, The Constant Garderner isn't completely heartfelt, and unfortunately, in such a tuned film, it’s a major flaw. The mystery of why Rachel Weisz received an Oscar is about as big a puzzle to me as a similar escapade in 1997 when Kim Basinger won a statue literally for nothing (maybe it's a new trend?). The handheld camera is not as sophisticated, and beneath several filtered shots, there is a relatively frequent slight hesitation and a search for the right style. The prosecution of pharmaceutical companies is now outrageously trendy, so it suited the creators perfectly. Yes, the theme is simply and powerfully executed, a few scenes are impressive, the braided chronology of the story is surprisingly not a hindrance, but the true heart is missing, and that is a significant reason for the average rating. (11/07/2007)

Of the many recent political dramas commenting on contemporary problems of civilization, this film is one of the best, along with Syriana. This one deals with the problems of today's Africa, with the growing influence of multinational pharmaceutical companies and the harmful interference by corrupt officials and governments in the work of NGOs. Unlike the somewhat aloof and cold Syriana, however, Meirelles's film is told more clearly (without a barrage of names) and, thanks to the big theme of love beyond the grave, is more emotional, including an impressive ending that lifted the final impression to the absolute. I didn't think Rachel Weisz's performance was Oscar-worthy, but I kept the scenes with her in front of my eyes even after the film was over. Maybe I’m in love? :) (09/01/2007)