I’ve been avoiding seeing Purple Violets for almost four years–I thought it was going to be one of Burns’s lesser works. So, obviously, it shouldn’t be a surprise it’s his best film (it’s also his best film as a director).
I’m having some trouble trying to figure out how to start talking about it. It’s different from his usual approach to scripting, maybe because he has a clear protagonist here and it’s Selma Blair. It’s her film–even though the other three principals, Patrick Wilson, Burns and Debra Messing, get significant scenes to themselves.
For a while, there’s this juxtaposing of story lines–Blair and Messing opposite Wilson and Burns. Then the characters start crossing over and everything comes together in a completely organic way. Halfway through the film, the plot is still unpredictable. Even the last scene is, to some degree, unpredictable. It’s all incredibly delicate.
Blair’s great, which wasn’t a surprise. The surprise was Patrick Wilson. His part is a somewhat regular guy and he turns it into this constantly surprising, deep performance (Burns’s script helps). Burns gives maybe his best performance ever here. He’s kind of making fun of himself, but also not. Messing is another surprise. She takes what could be a sitcom harpy and turns it into a lovely performance.
And Donal Logue–as a Brit–is great.
The PT Walkley score and the William Rexer photography are amazing.
From the first shot–thanks to Walkley and Rexer–it’s clear Burns probably has something phenomenal here.
Then he delivers.
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