Gripping story with well-crafted characters

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Story: It's very simple but honestly that is fine.

A couple of Oscar winning Best Actresses star in this Showtime version of the Tennessee Williams novella The Roman Spring Of Mrs. Stone. Unlike in the big screen film, Tennessee Williams himself is in the story played under a pseudonym as an acid tongued southern fried playwright viper by Roger Allam. We all need a gay confidante in the line of work Anne Bancroft is in, supplying boy toys for the rich, horny and bored. Unlike the 1963 version, it is clear she caters to the male as well as the female.One of those is Helen Mirren taking over the part done so well in 1963 by Vivien Leigh whose own life was tragically close to character Karen Stone. Mirren after a happy marriage that has seen a wane in the carnal embarks on a new quest for that after the death of husband Brian Dennehy. It's how she ends up with Olivier Martinez, a callow and spoiled youth who wants his women to treat him in a lifestyle he's gotten used to.Having just seen Behind The Candelabra which is another story about an unequal sexual relationship in terms of power, it's given me a fresh insight into The Roman Spring Of Mrs. Stone. Even the best of gigolos should have a day job to fall back on.Just as in the original the ending with the ever present and silent young street kid played by Rodrigo Santoro proves to Mirren that she can get what really wants without as much maintenance charge.

A new version of Tennessee Williams' story, about a 50-ish retired actress (Helen Mirren) who finds herself adrift in Rome after her husband passes away. She is soon preyed upon by a gypsy (Anne Bancroft) and her gigolo (Oliver Martinez). What happens from there is how Mrs. Stone deals with the pair and how she tries to find her way in her widowhood and her retirement from the theater.Since this is a modern telling, there is a lot more sex, which Miren excels in, I have to say! As with most Williams' stories, this is about lost people, so things aren't going to turn out so happy. That being the case, it's a good film overall, and the Rome scenery is cool.The best part is the film score by John Altman. It is very reminiscent of Gabriel Yared's work. He scored films like "The English Patient."****** (6 Out of 10 Stars)

I found myself reminiscing about this film long after having seen it. Initially expecting a probable pale imitation of the 1961 original; it seemed this new film appeared to possess many symbolic occurrences and images that seemed strangely familiar. For example, the homeless man knocking at Karen Stone's door reminded me of a picture I had seen as a child. The caption below the picture read "Look, I am standing at the door knocking. If one of you hears me calling..." Revelation 3:20I also remembered some of Helen Mirren's past performances as characters very unlike Mrs. Stone; therefore it required a preliminary adjustment to accept her as the more sensitive, deeply passionate, fading beauty. However, her outstanding vocal delivery and subtle nuances in voice and movement combined very effectively to bring Karen Stone to life. Karen Stone, a woman bewildered and lost after her humiliating final theatrical performance, the death of her husband and the loss of her youth finds herself "drifting" with no particular focus after finally deciding to settle in Rome. She meets an "old harpy" named the Contessa and her "man for hire" Paolo Di Lio. Olivier Martinez plays Paolo in stereotypical fashion as a vain, arrogant, self-centered rogue and Karen Stone is totally captivated by him. "Love is blind" is truly one of the film's major underlying themes as Mrs. Stone refuses to accept the total reality of her arrangement with Paolo anymore than he fully accepts the fact that he is, in actual fact, a purchased lover. Even Karen's physical appearance changes as her "addiction" progresses to the point where she resembles a heavily made-up caricature of her former self.The films heavily stylized 1950's costuming, artful set decoration, masterful cinematography and haunting, poignant score set against the backdrop of the "eternal" city serve as a very effective combination of elements in creating the films memorable romantic impression.For the most part, the characters are interesting and enjoyable to watch providing one accepts them strictly for who and what they represent. Anne Bancroft as the calculating Contessa appears to have a fun loving side as opposed to Lotte Lenya's vicious ruthlessness in the original film. Coral Browne's performance as Karen Stone's friend in the original film is, however, sadly missed.Rodrigo Santoro's performance as the homeless man presents an interesting character study because of his primary reliance on facial expressions which are powerfully supported by the films unique presentations of symbolism, colour and sound. When Karen Stone first makes eye contact with him on a bridge he responds with a provocative leer and exposes his chest, his hand held over the heart area. This gesture is dramatically different from her initial meeting with Paolo, wherein he lights her cigarette, a probable symbol of a fleeting but fatal pleasure.From the beginning the homeless man appears to be on a quest to establish contact with Mrs. Stone. His motivational perspective as a positive or negative force remains unclear throughout the film. At one point, there is a wonderfully effective camera shot circling around his head as he gazes up at Mrs. Stone on her veranda. An impoverished vagrant, he goes largely unnoticed as he eats scraps off the ground, gets kicked by a police officer, is laughed at by Paolo's barbers and is repeatedly viewed with disdain by Mrs. Stone. Thus begins a series of unexpected but plausible Biblically symbolic references: "...without majesty, we saw him, no looks to attract our eyes, a thing despised and rejected..." Isaiah 53:2 The homeless man's next couple of appearances are lewd demonstrations perhaps meant to reflect Mrs. Stone's "addiction" to physical pleasure at the expense of her personal dignity. Later, Paolo calls Karen to the window and asks her the identity of the man in the street. There are cathedral bells ringing in the distance as she refers to the him using the somewhat unusual description as a probable "money changer." Luke 2:14. When the mysterious man knocks on her door for the last time, Mrs. Stone finally confronts him with her impassioned plea, "Why do you follow me?" He responds with a mute, tear filled expression.The film is brought to a overwhelmingly unhappy, emotional climax at Karen Stone's final "party" when she overhears the Contessa describing her as "a harlot who has struck it rich." Karen looks to Paolo for reassurance. There is none. Mrs. Stone is at last forced to come to terms with the person that she has become.Left alone after throwing out Paolo, the Contessa and friends, Helen Mirren performs a wonderfully effective mime performance as a woman alone and humiliated while pacing around her clock as she silently acknowledges her helplessness over the passage of time.She then wraps the three keys to her apartment in a white handkerchief. Waving the handkerchief like a flag of surrender from her veranda, she throws it down to the homeless man waiting on the street. He takes the keys and looks up, his face a rich tapestry of emotion. As he approaches the first gate to her apartment, a "trinity" of lights shine in the background. In addition, directly behind him an obelisk-like formation reflecting an ice-blue light projects toward the sky resembling a "conduit" of sorts. As he approaches the second gate it becomes apparent that the stairway leading to Mrs. Stone's apartment has become awash in the blue light as well. When he opens her door the light enters her apartment and it also flows in through the windows. The blending of the various colours form an echo reminiscent of a renaissance painting. The homeless man moves silently toward her, his face half obscured in shadows, his eyes a profound reflection of love and understanding.As Mrs. Stone smiles back, the couple's faces go out of focus, as though each person had suddenly ceased to exist.

The movie was not the best and Martinez has always been a little weak in his films... (I could not except the fact that he was the the other guy to Diane Lane in "Unfaithful" over Richard Gere... I'm not gay or anything but Richard Gere is much more appealing than Martinez)... That being said... I'm 30 years old... and I hope my wife is that sexy and looks that good when she is over 60 years of age. Mirren was downright sexy and so appealing for a woman her age. I'm a huge fan of hers. God bless her and her continued sexiness. Her measurements have barely changed in over 40 years. How does she do it. Has she had plastic surgery or boob enhancements? Does anyone know any info about her?