The critics aren't unanimous, but I loved everything about Woman in Gold.
Wherever there was a standard scene for storytelling, historical or otherwise, it was tweaked just enough to be fresh. The editing was perfect, making the lines secondary (and it’s a good thing, as they only had a few shining moments, though some of the humor was great). It’s like the visual weight nearly snuffs it out, another appropriate thematic metaphor. Here a visual medium is taken up on, and delivering, its promise of excellence. Steve said he even thought they had two DPs. Each actor was well placed. Each was obviously chosen for their ability to visually, with facial and body expression, give all the thought/emotion required. Daniel Bruhl in particular. Really everyone.
Wordy middle wants said: It does a great job of evoking both Vienna and Los Angeles, not really sentimentalizing, but showing their innate beauty and obvious muscle. It’s hard to describe that, but there’s a reason they are part of the lexicon, and I think the movie shows that without Disnifying. Besides the postage stamp yards and city panoramas, that sunset around Mr Reynolds took me right to the California coast.
No, I wouldn’t call Woman in Gold heart warming—rather heart-rending. Almost any of those people/officials could be anyone. Except the portrait wasn’t just any portrait, and it wasn’t stolen from just anyone.
