# Plunkett & Macleane (1999)

### reviewed by
Murali Krishnan

    [1.0/4.0]

The eighteenth century in Western culture was a different time, with a markedly different class structure from the present time. No middle class then, and thus there was a large, unbridgeable gulf between rich and poor. In fact, England at that time more closely resembled what would be considered a "developing" country today. This backdrop provides the setting for a tale of two outlaws who infiltrate the social circles of the aristocracy in order to rob them.

MacLeane (Jonny Lee Miller) is a gentleman languishing in a debtor's prison after losing his place in society. One day the wall of his cell is crumbled by a coach that is being robbed by Plunkett (Robert Carlyle) and his partner while being pursued by the authorities. Although his mortally wounded partner is brutally killed by the savage lawman Mr. Chance (Ken Stott), Plunkett is able to escape with the freed MacLeane. However, the two are apprehended and sent to prison, but not before Plunkett swallows a large ruby. In prison, the pair negotiate their release by bribing the warden with the concealed gemstone.

After gaining their freedom, Plunkett hatches a plan that can earn them some money. Since MacLeane was a gentleman, he could pass himself off as an aristocrat with Plunkett being his servant. This would allow the pair to determine targets for robbery by getting close and finding out who has money and what their whereabouts will be. Using a small sum of money that Plunkett has saved, they begin their ruse.

At their first foray, MacLeane meets, is enchanted by, and subsequently robs the captivating Lady Rebecca (Liv Tyler). Likewise, she takes an interest in him, who contrasts with the revolting suiter her guardian, Lord Gibson (Michael Gambon) keeps pushing on her. She immediately suspects MacLeane of being the "gentleman highwayman" who robbed her, but is only charmed by the gentle bandit.

Although it is sketchy and slow to develop, the premise constructs an interesting scenario. Although the pair are conspiring to criminal activity, they will the be the protagonists because in the class politics of the time, the aristocracy are symbolic of greed, corruption, and oppression. However, at the point at which the pair begin their criminal exploits, the plot competely withers. The writing omits any attempt at plausibility, such as having the pair barely conceal their identities, or always finding their victims unguarded and unarmed. Plunkett is portrayed as a former apothecary, but is given powers more like a wizard, using a dazzling command of chemistry and pyrotechnics to escape from hopeless situations.

The art direction is the only dimension in which the film is successful. It is apparently the the skeleton around which all other aspects were meant to serve, which may explain why they were so underdeveloped. The costume and setting realistically represent the time period, but the soundtrack gives a arresting but effective contrast by having a modern tone. Particularly striking is an elaborate society ball where a period dance is performed while modern techno music is scored. While these dimensions of the film are entertaining, they do not redeem the uninspired, cliche-driven plot.

The acting is capable but hampered by the poorly sketched characters. Only Carlyle is able to raise his character to anything beyond dull and cliche. Especially poorly written is the character of Chance. From his first scene he is depicted as vile and sociopathic. However, the script feels it necessary to bludgeon the viewer with this in every scene he occupies, to the extent that he becomes predictable and dismissively uninteresting.

Recommended against. This is a dull, uninspired film that is all style and devoid of substance. The costume, art direction, and even score are well done, but the writing is so poor as to make the entire experience boring at best.

    (c) 1999 Murali Krishnan
    The Art House Squatter
    http://ArtHouseSquatter.com

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