In this film there is plenty of talk about rare flowers in Amsterdam, fetching a pretty price in auctions. Well, ‘Tulip Fever’ could be a similar rarity in terms of how late it’s been to blossom. Castings and production started back in 2014 and after being pushed back on more than one occasion, the film has finally sprung but is it a marvellous bloom or a wilting weed?
In 17th century Amsterdam, an orphan is purchased by rich and elderly Cornelius Sandvoort (Christoph Waltz). Sophia (Alicia Vikander) hopes to bear her husband an heir but there is no such luck. As Jan van Loos (Dane DeHaan); a struggling painter comes in by the request of Cornelius to capture the married couple, a mutual attraction burns between Sophia and Loos.
It’s not just a romantic yarn as the plot would suggest. Throughout the film there is a focus on the tulip market and the wealth certain marked flowers can bring to successful bidders. It is indeed a film boiling over with a duo of fevers that would have your local doctor reaching for aspirins and telling you to get some rest. It isn’t just the hot fever that boils over between the former orphan and the artist but the sweaty atmosphere with people from all walks of life crammed in a dingy auction hall is brilliantly captured and works in creating a fever of a financial kind, a swirling frantic environment which you may not have known about if not for this film.
In regards to the more romantic elements of the film, they are brought to life and detail by director Justin Chadwick, who has a background in corset drama, and the two young leads add further credibility to a pair heavy with arousal. Even though it is all convincing it doesn’t entirely prevent these characters’ desire to come across as melodramatic and there are character choices on route which feel annoyingly pushed, like contrivances just to solely push drama into the building climax when it could have been done more organically, it’s more of the roll your eyes stuff than it should be.
Considering the fires that burn in the loins of the cheating couple, the film doesn’t feel as passionate as it could, the story feels very safe and it doesn’t help that quite a fair portion of the dialogue isn’t exactly inspired or bursting with flair. Though saying that, the tricky games that Jan and Sophia play come with a good sense of doom, putting aside a cliched use of mistaken identity, a pregnancy becomes wrapped up in high stakes and this film neatly balances tension and humour within this scheme.
Dane DeHaan has the charm and smirk of a typically wistful artist always falling for his subjects. Alicia Vikander is as beautifully talented as ever, the emotive range she possesses in her magnetic eyes alone express the entrapping situation her character has put herself in. As she hopes to escape a stale world into a steamy affair, you truly buy into Vikander’s desire which make her final choices more captivating. But it is not really Sophia’s story to be spun, Holliday Granger as Maria is in fact the one whose tale is told. The actor finely sells her plight which runs through the house like a smartly drawn portrait as you feel her life getting caught up in the mix.
So while it may not have been altogether worth the wait, it’s not a dud bud to put on the manure pile either. If some lacklustre dialogue, twirl of many subplots and sappy endings were pruned away then this could have been a much more winning flower.