I had high hopes for this movie and, yes, tried my best to like it. The main reason: I love Patrick Süskind's novel, have read it numerous times and occasionally still give it a gander on audio-book (if you're familiar with German, I do recommend the version read by Gert Westphal). As can be expected, my expectations were high, yet, knowing about the complexity and topic of the book, also more than a little weary.
Let's go right down to brass-tacks: it would have taken a director like Stanley Kubrick or Milos Forman and even those two would have had a tough time to translate the matter unto celluloid. And mind you: I'm in no way saying that Tom Tykwer produced a bad film. The actors are excellent, the costumes spectacular and the viewer feels transported straight to the Paris of Ludwig XVI. But capturing the essence of the novel, that's something the director didn't achieve.
The fact that scents and smells play the main role in the world of Jean-Baptiste Grenouille isn't even the main obstacle. Although a master of dialogue – cult-shows like "Kir Royale" and "Monaco Franze" stand testament to that – in his novel Süskind primarily relies on narration. Since the novel is very episodic, making the transition to film even more problematic, most fans of the book will have their favourite chapters. In my case, my personal favourite also happens to be the part of the movie that I consider most accomplished. Partly due to the set itself, the scenes with Dustin Hoffman are a triumph. As mentioned, most of the cast is excellent but Hoffman has nailed his master-perfumer Baldini right on the spot. Every nuance, every gesture or facial expression, it all captures the Baldini of the novel.
More Kudos must go to Ben Whishaw: presenting Grenouille for the first time, Süskind promises us (to paraphrase it) "one of the great monsters of his era, standing in line with the Napoleons, Robespierre and Saint-Just of his time". True, Grenouille is a monster and this is indeed the "story of a murderer". But expect no blood-thirsty, grimacing serial-killer, who gleefully offs his victim. Fans have long argued over what kind of creature Grenouille is, whether a psychopath with a gift or an autistic savant, who simply lacks all sense of empathy.
I can only recommend this movie to fans of period-pieces like "Amadeus" or "Barry Lyndon" (though technically it doesn't quiet live up to either of those entirely). You might even enjoy it if you only have a fleeting interest in Süskind's book. But if you're one of those readers, who almost know "The Perfume" by heart and consider it on of the great novels of its time, you're most likely sit through a viewing with the constant afterthought that something essential is missing. The "absolute fragrance", if you so want. Hence, as a movie standing on its own feet, it's a solid 7/10, as an adaptation, I can give it no more than 5/10.
Let's go right down to brass-tacks: it would have taken a director like Stanley Kubrick or Milos Forman and even those two would have had a tough time to translate the matter unto celluloid. And mind you: I'm in no way saying that Tom Tykwer produced a bad film. The actors are excellent, the costumes spectacular and the viewer feels transported straight to the Paris of Ludwig XVI. But capturing the essence of the novel, that's something the director didn't achieve.
The fact that scents and smells play the main role in the world of Jean-Baptiste Grenouille isn't even the main obstacle. Although a master of dialogue – cult-shows like "Kir Royale" and "Monaco Franze" stand testament to that – in his novel Süskind primarily relies on narration. Since the novel is very episodic, making the transition to film even more problematic, most fans of the book will have their favourite chapters. In my case, my personal favourite also happens to be the part of the movie that I consider most accomplished. Partly due to the set itself, the scenes with Dustin Hoffman are a triumph. As mentioned, most of the cast is excellent but Hoffman has nailed his master-perfumer Baldini right on the spot. Every nuance, every gesture or facial expression, it all captures the Baldini of the novel.
More Kudos must go to Ben Whishaw: presenting Grenouille for the first time, Süskind promises us (to paraphrase it) "one of the great monsters of his era, standing in line with the Napoleons, Robespierre and Saint-Just of his time". True, Grenouille is a monster and this is indeed the "story of a murderer". But expect no blood-thirsty, grimacing serial-killer, who gleefully offs his victim. Fans have long argued over what kind of creature Grenouille is, whether a psychopath with a gift or an autistic savant, who simply lacks all sense of empathy.
I can only recommend this movie to fans of period-pieces like "Amadeus" or "Barry Lyndon" (though technically it doesn't quiet live up to either of those entirely). You might even enjoy it if you only have a fleeting interest in Süskind's book. But if you're one of those readers, who almost know "The Perfume" by heart and consider it on of the great novels of its time, you're most likely sit through a viewing with the constant afterthought that something essential is missing. The "absolute fragrance", if you so want. Hence, as a movie standing on its own feet, it's a solid 7/10, as an adaptation, I can give it no more than 5/10.