Toronto Film Review: ‘55 Steps’

'55 Steps' Review

Hilary Swank and Helena Bonham Carter star in a tale of patients' rights advocacy from the 1980s.

Sometimes the labyrinthine paths of movie deal making offer more intrigue than the movie itself. How did a fact-based 1980s story of a battle for American mental patients’ rights become directed by a Swedish veteran, shot primarily in Germany, produced by that nation and Belgium as a vehicle for two star English-language actresses? Let alone written by a man whose last screen credit was 1977’s “Chatterbox,” a drive-in farce about a woman with a talking vajay-jay?

The answer might well be a story less worthy but more surprising than that told by “55 Steps.” What emerges a competent but uninspired case-pleading meller fails to elicit memorable work from any of its principal collaborators. The kind of award-bait social issue drama that — when as routinely handled as here — won’t likely attract actual awards, Bille August’s film might do better for leads Helena Bonham Carter and Hilary Swank if it bypasses tepid big-screen prospects in favor of a small-screen debut.

We first encounter Bonham Carter’s Eleanor Riese in full histrionic distress, being dragged by psychiatric ward attendants at a 1985 hospital into an isolation room. There, she is sedated against her will, then left unattended to soil herself and suffer seizures. The next morning she promptly calls an advocacy organization to demand legal representation, intent on suing the San Francisco hospital for mistreatment.

Diagnosed with “chronic paranoid schizophrenia and slight mental retardation,” Eleanor knows she needs medication as well as treatment. But she’s also well aware that the doses she’s administered have actually exacerbated, or even created, some of her worst symptoms. Unfortunately, the law is such that mental patients do not have the right to informed consent; the doctor’s judgment is always right, overruling their own.

This makes her a perfect test case to overturn those laws, attracting the eager attention of Colette Hughes (Swank), a psychiatric nurse turned patients’ rights lawyer, and her constitutional lawyer mentor Morton Cohen (Jeffrey Tambor). The latter at first advises the former not to take on what is sure to be a drawn-out and taxing pursuit — the workaholic Hughes is already stretched thin. Still, she won’t be deterred, even on realizing the impulsive, insistent, filter-free Eleanor will demand even more of her time and attention than imagined.

If Colette is frequently taken aback by Eleanor’s behavior, we certainly aren’t, as Mark Bruce Rosin’s on-the-nose screenplay (his first produced in 40 years) lays out a predictable dynamic of dedicated professional slowly warming toward her incorrigible “wise fool” client, whose eccentricities never get in the way of a pithy observation when needed. Bonham Carter chews scenery in a mostly comic performance that is lively but very broad, making the film’s rote inspirational beats even harder to take seriously. Meanwhile Swank operates in a monotonous range of humorless, self-sacrificing do-gooderism. Operating well below their formidable bests, these actresses don’t achieve the chemistry needed; nor is there any between Swank and Johan Heldenbergh as the loyal boyfriend Colette neglects.

August, whose English-language films have seldom compared well to his distinguished Scandinavian ones, can’t elevate this material much above the flat, pat TV-movie earnestness it seems content to aim for. The film (which was largely shot in Germany) has a washed-out, gauzy look that is as professionally mediocre as every other tech/design element here. “55 Steps” (named after Eleanor’s phobic compulsion to count stairs) tells an important story but manages to turn fact into wan dramatic formula.

Toronto Film Review: ‘55 Steps'

Reviewed in Toronto Film Festival (Gala), Sept. 7, 2017. Running time: 114 MIN.

Production

(Germany/Belgium) An Elsani Film production in coproduction with Potemkino Port, MMC Movies Koln and BNP Paribas Fortis Film Finance, and in association with Mass Hysteria Entertainment, Aloe Entertainment and Chickflicks. (Int'l sales: Atlas International Film, Munich.) Producers: Anita Elsani, Sara Risher, Mark Bruce Rosin, Lesley Neary, Laurie Shearing. Executive producers: Helena Bonham Carter, Hilary Swank, Daniel Grodnik, Mary Aloe, Nicola van Gelder, Jurgen Grethler, Stuart Berton, Rolf Schubel, Iris Dugow, Ger Wiersma. Co-producers: Pewter De Maegd, Tom Hameeuw, Bastie Griese, Philip Borbely.

Crew

Director: Bille August. Screenplay: Mark Bruce Rosin. Camera (color, widescreen, HD): Filip Zumbrunn. Editor: Hansjorg Weissbrich. Music: Annette Focks.

With

Hilary Swank, Helena Bonham Carter, Jeffrey Tambor, Johan Heldenbergh, Cynthia Hoppenfield, Edward Bennett, Vincent Riotta, Doreen Mantle, Florence Bell, Nathan Oswood, Simon Chandler, Jonathan Kerrigan. (English dialogue)

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  1. hammerhead750072017 says:

    Straight up made for TV junk performed by actors mailing it in for milk money.

  2. Sunshine says:

    Oh please. I give better review on porn films. You lot are just paid to write crap articles.

  3. Alina hayan says:

    I have seen this film and disagree completely, the performances are outstanding (in particular, Helena’s performance). I sincerely hope this article does not deter people from seeing a beautiful film, that is acted quite frankly, brilliantly.

  4. Wow. Sounds like garbage! I think seeing Chatterbox might be more worthwhile.

    • Alina hayan says:

      I have seen this film and disagree completely, the performances are outstanding (in particular, Helena’s performance). I sincerely hope this article does not deter people from seeing a beautiful film, that is acted quite frankly, brilliantly. See the film to draw conclusions of your own.

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