A zany, complex, and frankly explosive exploration of marriage, The Roses is an enthralling cinematic experience, filled with a sort of rough-and-tumble, riotous take on romance.
The film – based on 1981 novel The War of the Roses by Warren Adler and a remake of the 1989 film adaptation – follows the relationship between eccentric architect Theo Rose (Benedict Cumberbatch) and ambitious and unconventional chef Ivy Rose (Olivia Coleman), from their meeting until their (spoilers!) untimely deaths.
Cumberbatch shines as Theo, a role that feels suited to his résumé specialities: an intelligent, highly ambitious and a humorously uptight character, layered with vulnerability and sincerity. Similarly, Coleman’s Ivy was perfectly pitched as hilariously insufferable at moments of success, whilst deeply heartfelt and raw when real difficulty arose. Two impressively distinct and unconventional figures, they made loving partners at some moments, fierce competitors at others, and, despite their children’s celebration of their intended divorce, it was difficult not to root for their reunion.
Similarly kooky and quirky side characters entertained: Andy Samberg’s all-American Barry, simultaneously a voice of reason and yet utterly absurd, while Ncuti Gatwa’s Jeffrey was a fun and engaging watch.
The film’s brilliance stems from the intermingling of wacky elements with identifiable ones: relationship arguments, the managing of equally fierce ambitions within their family, is mixed with ridiculous and bizarre unfolding of events – like their having sex in the cold cupboard of Ivy’s work kitchen within minutes of meeting. The film leaps (sometimes a little too far) between these two narrative elements, making the relationship we see dissected on screen both identifiable and exceptional.
In a film about divorce, it feels difficult not to take sides; however, this effect feels unintentional, and mismatched with the nature of the narrative. As audience, we seem expected to find both Theo and Ivy as bad as each other, but with Theo’s genuine support of Ivy’s work, even after his career failure, compared to Ivy’s mishandling of his emotions, it felt that Cumberbatch’s Theo was more agreeable.
Nonetheless, The Roses is a film destined to encourage audiences back to cinemas: it’s a kooky, colourful cascade of chaos, that will leave audiences roaring with laughter at some moments, and utterly shocked and staggered at others!
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