PERFORMANCE PERSPECTIVES

“The Limey”
GOOD STORY AND GOOD PERFORMANCES

This film is built on a complicated storytelling structure. It is however possible to understand and to enjoy The Limey because its principles of storytelling are well defined and effective. The principles of good storytelling are in fact quite straightforward. There needs to be a simple and engaging beginning for the plot. In The Limey it quickly becomes evident that this plot is about Wilson's (TERENCE STAMP) quest to understand and perhaps revenge the death of his daughter.

It also becomes quickly plain that this quest is not going to be an easy one for Wilson (TERENCE STAMP) the tough English ex-con. So the audience waits to see if he will succeed or fail. A significant factor that makes his task more difficult is the belligerent aggression TERENCE STAMP develops for his character. In this way the actor's choice of intention and the colour of his purpose actively helps to support and progress the plot. This is a character who often makes life difficult for himself.

Thematic Development
At this stage the thematic content is not immediately identifiable for the viewer but by the end of the film when the purpose of the story is clearly revealed we understand that this element was in fact consistently active throughout. By the end of the story we realize that thematically this is a quest of a different kind. So the thematic strand of the story has been active throughout the development of the film and even though it only becomes clearly evident at the end it has been binding together the sense of purpose of the narrative throughout its journey. These two elements, engaging plot and a worthwhile theme, provide the essence of an interesting and satisfying story.

Intensely Playful Performances
So, with the two essential foundations of plot and theme in place the cast and director are free to play with the content within these parameters. And play they do. TERENCE STAMP, whose often referred to 'strong screen presence' is based on his confidence and potently focused sense of purpose, pushes the performance boundaries to see how determined he can make Wilson. LUIS GUZMAN plays a dark and powerful Ed who supports Wilson on his quest and PETER FONDA creates a wonderfully playful and immensely likable villain. Steven Soderbergh and Lem Dobbs' script plays very successfully with shifting time frames even using fantastic flash backs from Ken Loach's "Poor Cow" but everything is included for a purpose to support the development of plot and theme.

PETER FONDA'S villain is noteworthy because he does nothing to make him 'villainous'. Every choice is justified within a world were every decision is aimed at financial survival, enjoying life and maintaining his status.

Conventional Plot - Unconventional Treatment
This is definitely a 'boys' plot about boys doing aggressive, pigheaded and challenging things to survive and the female roles are fairly insignificant. However, despite this they achieve a status within the story by virtue of the actors' choices. The female actors create believable and likeable people and this in turn is a significant factor in helping us like the more belligerent and manipulative males whom they support. LESLEY ANN WARREN as Elaine is a charming pragmatic support to TERENCE STAMP and AMELIA HEINLE as Adhara helps us see through the superficial charm created by PETER FONDA. We like these men more because of the people who like them.

AMELIA HEINLE has the difficult role of playing the younger woman who is romantically attached to the much older Terry Valentine (PETER FONDA). She chooses to not play the sensual manipulator traditional for the gangster's mole and instead plays a very intelligent, high status, independent and likeable young woman.
Because she is entirely secondary to the plot and theme her character is inevitably not explored but nevertheless she has built a thoroughly believable world for Adhara to exist in and executes her role with an engaging truthfulness. Both these actors show us that, even if it is still difficult for women to get pivotal roles in stories, it is still possible to create independent and intelligent characters whose appeal is based on more than a plunging neckline. These two women speak with strong and independent voices and create characters who, if not pivotal to the plot, contribute significantly to the stories success.

But ultimately it is the story of this film that speaks out with the greatest strength. By the end the plot has been dramatically resolved and the final scene on the plane suddenly makes all the confusing manipulations of time clear as well as resolving any doubts as to what the film is saying. A good story begins strongly, engages its audience in the truth of its development and generally ends clearly having said something simple and worthwhile about the human condition. The actors' role is to support and deliver this outcome not only through a truthful performance but also through an appropriately focused one.

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