The film succeeds through the perfect alignment of Woolf’s novel, Potter’s direction, and Swinton’s lead performance. The critic singles out Swinton’s nuanced portrayal of Orlando’s inner life and gender transformation for particular praise.
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Orlando (1992)
7 reviews from 7 publications. We need six from publications we count before we show a critics’ score; there are 3 so far.
The film captivates the eye with its sumptuous design and Swinton's central performance but fails to fully deliver on its themes about sexuality and identity. The critic notes it is arty yet accessible and funnier than expected, though the core message is slight.
Read the full review →Though visually impressive, the film is the hollowest of successes, all chic set design, smug posturing and self-satisfied attitude, with its core insubstantiality becoming evident as it repeats itself without emotional connection. The best way to experience it is to see the first half hour and then go home.
Read the full review →The critic praises Potter for turning Woolf's literary fantasy into an original and deeply enjoyable film despite a tight budget. Visual gorgeousness, a light playful touch, and an ending of irresistible exhilaration are singled out for praise.
Read the full review →The film is an original, intelligent triumph of lyrical yet argumentative filmmaking that distills Woolf's literary manner into sumptuous visual styles changing with the centuries. Potter's most provocative points concern the way history and nature shape sexual identity.
Read the full review →The critic describes Potter's adaptation as a beautiful historical pageant of 400 years of English history, full of visual and aural pleasures, sly jokes, thought-provoking insights, emotional truths and romance. Swinton's magnificent performance as Orlando is highlighted, along with the cinematography's rare sensitivity.
Read the full review →The critic finds Sally Potter’s adaptation a frustrating enigma that flatters to deceive with its ravishing visuals and whimsical style but ultimately lacks emotional resonance, narrative drive or meaningful exploration of its themes. Swinton’s performance is noted positively but the film as a whole feels incidental and fails to engage the viewer with Orlando’s centuries-spanning journey.
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