Eventually, through dreams and waking flashbacks, Almasy's memories come flooding back, although Caravaggio asserts that he hasn't really forgotten anything -- he just wants to forget. The story then flip-flops between the present and a period during the late-'30s and early- '40s, when Almasy is part of a British map-making effort surveying the Sahara. It's then that he meets Katharine Clifton, the wife of a good-natured pilot (Colin Firth) who is helping with the project. Almasy and Katharine fall for each other, and the stage is set for a classic exploration of love and betrayal set against the dangerous background of Nazi aggression.
The one flaw in The English Patient is related to an aspect of the structure. The "modern-day" scenes with Almasy awaiting death aren't as nearly as involving as the flashback sequences. The relationship between Hana and Kip lacks the intensity of the central romance, primarily because neither of them is a fully-realized character. As a result, the scenes that take place in this time frame, some of which are quite lengthy, can be seen as unwanted interruptions.
As is necessary for a movie of this tone and style, the acting is strong. Ralph Fiennes gives us an Almasy who seems loosely based on Casablanca's Rick -- strong and silent until the right woman releases all of his pent-up passion. Fiennes is the kind of actor who likes challenging himself with each new role (he has essayed vastly different personalities in Schindler's List, Quiz Show, and Strange Days), and his work in The English Patient represents a continuation of that trend. Kristen Scott Thomas (Four Weddings and a Funeral), sporting faux blonde hair, is luminous as Katharine, effortlessly conveying to the audience the energy and zest for life that Almasy finds irresistible. Together, these two are hotter than the desert heat that simmers around them.
Juliette Binoche (Blue)
