ven those unfamiliar with the story of Don Quixote will
immediately recognize the familiar imagery of the lean, gray-bearded madman
on horseback alongside his donkey-riding companion. In the four centuries
since Cervantes penned the novel, the tragicomic figure of Don Quixote has
come to be identified in popular culture with hopelessly romantic
idealism.
This latest adaptation features Lithgow as the titular hero. He is
Alonso Quejano, an aging country gentleman of some means who spends his
days, as his niece describes it, "reading much and eating little." One day
he impetuously decides to become a knight-errant--champion of the oppressed
and savior of damsels in distress. He announces to the dismay of his
household that he is now to be called Don Quixote de La Mancha and begins
making preparations for a journey of great adventure.
Accompanying him on his quest is Sancho Panza (Hoskins), a dimwitted
village peasant who agrees to become Quixote's faithful squire in return
for the promise of an island when their adventures are through. Together
they roam the Spanish countryside in search of chivalrous deeds to
perform.
Early in the journey, Quixote meets a young peasant woman named Aldonza
(Williams). In his imaginary world she becomes Dulcinea del Toboso, his
beloved lady fair. From then on he strives to win honor in her name and
become worthy of her love.
The story follows the misadventures of Quixote and Panza as they
encounter rogues, scholars and noblemen along the way. Among these nobles
are the Duke and Duchess (Rossellini) who entertain themselves by making sport of and mocking the two
men. Throughout it all, Quixote's family and friends seek to bring him home
safe and sane.
Like Quixote, a little lost
Cervantes' classic, often considered the first truly modern novel,
has inspired many incarnations, including a silent film, a Broadway musical,
several television movies--even a pornographic version. None of them has
ever been able to equal either the pastoral beauty or the eloquent social
commentary of the original work. This offering is no exception. There are
no new insights here to add to the myth beyond the novelty of seeing Lithgow
embody the character with full gusto.
Lithgow, who also serves as co-producer, turns in a performance that is
impassioned but overblown. The coherence of the story relies solely on the
portrayal of Quixote himself. Is he a dreamer or a lunatic? Is he merely
disillusioned or completely detached from reality? Unfortunately, Lithgow
doesn't seem to have it figured out. He fails to establish any range of
emotion, with the exception of a touching deathbed scene and an eloquent
speech at the banquet of the Duke and Duchess. The film could have
benefited from more moments like these.
One advantage this production has over its predecessors is the digital
special effects technology now available to bring the fantasy world of Don
Quixote to life. Coming from the producers of Merlin, Gulliver's
Travels and The Odyssey, the visual design does not disappoint. As
Quixote slips in and out of reality, what he sees appears on screen, and the results are eye-catching. Windmills morph into huge giants, evil enchanters cast spells, and humble inns become magnificent castles.
All of these visual tricks are interesting, but in the end they are just
smoke and mirrors. They don't make up for an inscrutable central figure and
a meandering plot that loses its way toward the end.
