Visually magnificent, with plenty of opportunities for oppressive opulence in this delicious, but ultimately convoluted epic, *Restoration* is a lovely mess. Spanning the reign of Charles II, the great fire, the plague, ad nauseum, the "restoration" refers to, not only the period, but the human condition. But that conclusion is a difficult one to arrive at, and will only be understood by those viewers who actually sit through the movie. Shot in England and Wales, and winning Academy Awards for Art Direction and Costumes, the script involves a promising young doctor, Jack Merivel (Downey), whose gifts attract the attention of the King. Entering the revered court circle, Merivel has the delights of the world at his fingertips and ultimately succumbs to debauchery. But it is a story of restoration (as well as *the* Restoration) and redemption, with certain timeless aspects that have modern consequences, but the script begins to fray throughout the second half. With the exception of an unpleasant, jarring characterization of a mentally ill woman by Meg Foster (whose forte is definitely not period pieces), the leading and supporting roles are well cast. Downey has an appeal and charm (one that survived his recent tribulations), and gives Merivel humor, irony and dedication, in addition to the human foibles he falls victim to. Neill carries off the role of King Charles II with style and assurance, as he seeks to secure the permanent services of his mistress by marrying her off the Merivel, thus keeping her near. The King has selected Merivel for his inability to be placated with one woman Merivel's desires keep him on a constant conquest for new and different lasciviousness but the King's one condition is that Merivel not fall in love with his own wife. Needless to say, that is exactly what occurs, and thus begins the tumultuous fall from grace. And that's just the first part of this lengthy movie. The second half deals with Merivel's quest for redemption not from the King, but from himself and God. It involves his daughter by the Meg Ryan character, and this is where the story changes from costume drama to social commentary. It is through Merivel's personal travails, as well as those inherent in the period: disease, pestilence and ignorance, that Merivel understands that the only reason he is on earth is to care for this child that is an extension of himself. His flight to find her and prove his worthiness in overcoming the obstacles set before him is a moment that would have been served at little earlier in the film. Despite the lush cinematography, there is an overdose factor involved that, once the outcome of the movie is evident, the viewer yearns for it to hurry along and be over. That said, it also leaves lingering memories of beauty and gratification.
Review of Restoration
