Night Train to Lisbon
In the realm of cinema, adapting a global bestseller counts among the most prestigious – and precarious – pinnacles of movie making. Seminal director Bille August (The House of the Spirits) once again took the reins to adapt the highly complex storyline of Pascal Mercier’s Night Train to Lisbon to suit the silver screen.
Flanked by iconic actors including Jeremy Irons, Charlotte Rampling, Christopher Lee and Bruno Ganz, Jack Huston’s central character steals the limelight: Here, the young British actor – already feted for his spot-on portrayal in the US series Boardwalk Empire – plays a prospective doctor from Lisbon who decides to rebel against the country’s 1970s Salazar dictatorship and soon becomes embroiled in a tragic social and emotional triangle.
One of the most gripping encounters of the film, between Huston and actress Mélanie Laurent (Inglourious Basterds), provides the last missing puzzle piece of this philosophical thriller – and takes place in a 280 SE (1969) at sunrise.
The story of Night Train to Lisbon is an interesting mix of a thriller and a philosophical journey into the mind of your character.
In the pocket is a book of platitudinous philosophical musings by a Portuguese doctor name Amadeu de Prado, its title translated as “A Goldsmith of Words.”
The courageous idealism that drew them together, the emotional entanglements and the dangerous developments that broke them apart become clear via overlapping accounts of the events of many years ago. Jack Huston plays Amadeu in the extended flashbacks that accompany Raimund’s obsessive investigation, with August Diehl as the young Jorge, Melanie Laurent as Estefania and Marco D’Almeida as Joao.
One example is the scene, recalled by Lee’s clergyman, in which Amadeu, fired up by reading Sartre and Marx with his working-class buddy Jorge, gives a graduation speech in which he shocks the gathered assembly and humiliates his regime-connected father (Burghart Klaussner) by condemning the supporters of tyranny and asserting the freedom to rebel against cruelty. Huston gives it his best shot, but impassioned as they are, his words are prose, not drama.
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