Monday, December 10, 2007

Film and Interior Design Part 3: Match Point (2005)

A stunning film, it marked a turn for Woody Allen: in Match Point, London became his new favourite city to film. It helps the film visually a lot, plus the story would not have been the same if it was filmed in New York.

The house that steals the limelight is the one Jonathan Rhys-Meyers and Emily Mortimer live in as newly-weds. Our first glimpse of the spectacular Thames view from its living room immediately establishes the fact that the character Jonathan Rhys-Meyers plays has come up socially (see photo above). The up scale apartment is in the real Parliament View building.

Soon we get to see the house furnished, Modern, minimal style, but seemingly bland and neutral is the first impression one gets from it. Until you see the art hanging on its walls.

The house is full of modern paintings, due to the fact that the character Emily Mortimer plays has her own art gallery (the privilege of having a filthy rich father). These are the most interesting additions to the house, making welcome cameos for those really watching the film.

The Tai-Shan Schierenberg self-portrait here literally steals the scene:

Of course the apartment, except from the view, has other merits too. It has a second floor for the bedrooms, with the area of the stairs painted an interesting shade of green.

The kitchen looks boring but expensive.

And the living room furniture show that it is not enough to be rich and successful to have an interestingly decorated home - you need taste above average as well.

I do think though that it accurately reflects the couple's characters: Chris (Meyers) is a working class guy that ruthlessly marries into money and Chloe (Mortimer) is daddy's little rich girl that has no personality and is spoilt to death. This is why I think it is an interestingly decorated house. Plus you can't beat the view.

Design facts for Match Point:

Production design by Jim Clay

Art Direction by Diane Dancklefsen and Jan Spoczynski

Set Decoration by Caroline Smith

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