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My grandfather’s house, when I was a boy, was filled with small strange talismans that held memories and suggested histories and had names and stories attached. He was fond of enunciating what several 1940s artifacts were made from, a pipe, an ashtray, a telephone: “Baaa-kuh-lite!” The heirs of the inventor of the synthetic plastic pissed the money away on being plastic people and selfish grownups. Based on Natalie Robbins’ nonfiction “Savage Grace,” Tom Kalin’s first film since 1992’s “Swoon” has a brittle artificiality that utterly suits the irresponsible characters on their way from Manhattan nightlife to the wilds of sunny Spain. Stephen Dillane’s wretched heir and Julianne Moore’s mad mom are matched by Eddie Redmayne’s twitchy, blighted adult version of their son. You can imagine these characters behaving this badly with no trouble at all. Talking to screenwriter Howard A. Rodman before Sundance 2008, he had fond words for the project: “‘Savage Grace’ was an adaptation, but it was never an ‘assignment’ in the cynical sense of that word. I wanted to realize the astonishing world that was chronicled in the book, and, far more, wanted to come through for Tom Kalin. He’s the most intensely collaborative director I’ve ever worked with, and I can’t count the number of drafts I did for him. The good and bad news is the same: I was in on the conference calls, discussed each piece of casting, was on the set in Barcelona, saw six or seven versions of rough cut. I’m an executive producer of this one as well. The financing fell apart several times and we commenced the film in Barcelona [doubling for New York, London, Paris, Cadaques, and Mallorca] on our third start date. Both films are personal projects and feel as such. It’s made it hard to go back to a more industrial model of the screenwriter’s involvement (or, to be more accurate, non-involvement).” “Savage Grace” reflects Rodman’s sentiments: artificiality about artificial people and their emotional ruptures makes for grand display. (Ray Pride)
