Tulip Fever, much like the mercurial bloom’s marketplace namesake, is beautifully filmed, but ultimately not particularly satisfying on any level. The story here is purportedly one of romance, but it is as much about feminism, class, politics, greed, and a reflection of modern times. Unfortunately, all of that is easy to see, but not really felt in the final cut.
The story revolves around two couples and one man. Alicia Vikander (Jason Bourne) and Dane DeHaan (A Cure for Wellness) are the focus of the story, providing the main thread to pull us through. But the story is being told by Holliday Grainger (Strike), who’s relationship with Jack O’Connell (Money Monster) is affected as well. Both couples do what they can, though neither are particularly magnetic nor gripping in their passions emotionally, despite some nice on-screen physical examples. Frankly, when all is said and done, it is the path that Christoph Waltz (Downsizing) walks that is the most interesting. It is his most sympathetic and compelling role in a while. He is subtle and tormented in fascinating ways, and he manages to support the film from the background rather than trying to dominate it with a crazy portrayal.
There are also several notable supporting roles and characters. Tom Hollander (The Night Manager) and Judi Dench (Miss Peregrine’s School for Peculiar Children) are the most amusing and believable, but Matthew Morrison (Glee) and Zach Galifianakis (Lego Batman Movie) add their own value too. Galifianakis is hurt more by the script than his performance in this (but I’ll get to that). Finally, in a bit part that sort of goes nowhere is Cara Delevingne (Valerian and the City of a Thousand Planets). The only reason to call her out is that she was paired with DeHaan in her next film; the performance here is fine, and I give her credit for making of it what she could.
So with all this talent, why did it fail? Despite being co-written by the great Tom Stoppard (Anna Karenina), the script is the real problem for this story. It depends entirely on two incredibly stupid choices by characters. It isn’t that the choices aren’t set up, but they are both avoidable and, in one case, purely ridiculous that no one stops it from happening. No amount of commitment or clever aspect of plot nor unexpected endings can overcome those points for me because they undercut the credibility of the story as a whole. Using the conceits of farce amid the romance just deflated the whole for me. And, while these items are also used in classic tragedy, they need to be credible to work. In this case they were blindingly avoidable.
There is some interesting history and reflection to absorb with this film. And Chadwick directed it reasonably well. But only make time for this if you must see the actors or have some deep interest in Holland in the 1620s, though historically you are likely to feel short-shrifted.