Simply Perfect

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

a large puzzle. the romance as the picture. but each piece has its splendid traits and flavors and sparkles and mysteries. and this does Cairo Time almost an experience.because beauty is present in each scene. the details of Cairo. the chemistry between the lead characters. the impression, who grows up than Patricia Clarkson and Alexander Siddig are the perfect choice for a story who has as basic virtue the delicate and precise exploration of nuances. it is not the classic love story. slow and almost a jewels shop, touching and profound, portrait of a professional relation who becomes more, drop by drop, it has a not ordinary art to be a trip, a kind of sociological documentary, an embroidery of small gestures, silence and looks, a subtle definition of life's authentic taste and run, frustrations, expectations of a workaholic, a film about freedom at the mature age and the change of perception about reality, an inspired homage to a land, with its voices, lights, events and vulnerabilities. it is different and surprising. because it is a delicate subject and the art of director to do a beautiful story to become convincing and touching is real admirable.

This is a beautiful and understated film. The plot is simple but the impact is huge. This has to be a woman's work, I thought, as I watched it and sure enough it was both written and directed by Ruba Nada. Patricia Clarkson is superb in her low key portrayal of Juliette Grant, a middle aged North American wife left alone in Cairo when her husband is delayed. The pace is languorously slow. The photography is rich and warm. It is a film of tiny and careful brush strokes rather than broad swipes and splashes. Ultimately the plot goes nowhere. But somehow that is the very real strength of this wonderful, artful film. I have been a frequent harsh critic here of Canadian movies. This is a refreshing exception.

The red threat of this movie is known: some Thursday's in 'Brief Encounter', some days in 'The Bridges in Madison County'. If something in a marriage is vulnerable and has to be repaired before the unrepairable option of divorce: here is an example to repair before ... . The middle-aged Juliette visits her husband (away on UN-mission) in Cairo. Instead her husband, the Muslim Tarik welcomes her at the airport. As the film moves forward Juliette is tempted by the low keyed politeness of this man. Occasionally her husband phones, the wife begging her husband to come. She wanders alone the streets of Cairo, followed by men. After this Tarik is he her 'bodyguard'. The space her absent husband created is taken by Tarik. Nothing and everything happens between the female Christian and the male Muslim. The subtle affection develops towards the moment when she asks him to her room for tea. The movement of their body language (her hesitating preparation of the tea and him: first on the balcony - then in front of her, engulfed by the films most intense moment). She: "Come." They do what she told everybody: that she will climb the Pyramids with her husband. Now it is Tarik. The gentle gentleman he is, takes off his jacket for her to sit on. In Europe the metaphor of the tower is phallic symbolism. Here it is the pyramid. Like this she, the tourist in a foreign country, handles their feelings: climbing together the phallic pyramid-tower. Before she does it with her husband. Nothing but everything happens. Differently. The 'betrayed' husband was too sure of his wife and friend - leaving his space as husband empty. Returning to the hotel after their 'infidelity', Mark waits. An awkward situation as nothing but unseen for him, everything has happened. When she prepared the tea: the moment that affection crossed the line. The movie ends, the camera following husband and wife approaching the Pyramids. The husband, the second choice, unaware that the privilege had been given by him to the other. But. Was Taric no the medicine for husband and wife, now and then needed to renew a marriage, taking care of subtle flaws as it happened those Thursday's and the week. Again to see the other and not only look. Husband and wife entering the elevator, before the door closes, she looks at Taric, seeing him: "I am happy that I waited." Unaware of all this: the wife's husband, the boy Mark, sure of his wife. Too sure.

Its a misnomer to say that this movie is about romance or a love affair. I'd presume 'affair' would need some physical contact to be thus termed. Here you have one brief 1/4 of a second meeting of lips that could even be construed as unintended. However, there is no argument about the elegant laid back script. Patricia is perfect - typical well bred western woman a bit out of place in a place thats a world away from hers. Quiet, never giving offense, soft spoken...and sexually aseptic. But thats why the movie is so captivating. The subtle development of a friendship between two temporarily lonely persons,the exotic environs - so common on vacations - leads...well nowhere really. Just as its getting up and going, hte hubby comes along and ends everything, including the movie. In ending, I'd say while this is not everyones cup of tea, its well worth a watch. You'd remember it for a surprisingly long time.