I had hoped Joyce's love for Nora might be presented in his own words. No such luck. The scriptwriter, it seems, wasn't going to allow Joyce to intrude on her efforts, more's the pity, so there's little of Joyce's language in the script. Alas. (Compare Huston's use of words in The Dead and the late great Donal McCann's wonderful reading of that final soliloquy) There's nothing to match it in Nora. Not that Joyce had written his masterpieces until later on. Even so, Nora could have mouthed them instead the banal chit-chat and ludicrous humping that passes for passion in all the familiar, cliched bedroom scenes. An embarrassment. Worse, we are obliged to watch Joyce abusing Joyce in a cinema while reading a letter from Nora. For pity sake have pity!

So why did they go to Trieste in the first place? Who knows ? The script doesn't bother explaining in any detail why they make this giant leap into the unknown. Later, Joyce's brother arrives to stay with Nora and Jim. Why? The script doesn't seem to care. Joyce goes to Dublin and opens a cinema. Why? The script fails to elaborate. Nora and Joyce break up and reunite in Dublin. Why? Because he's worse than what she's got? Really? Could you elaborate? Or would that be too much to expect from this mean spirited foul mouthed film. Joyce must be spinning.

Susan Lynch as Nora gives a one note performance. Feisty. There is no depth or subtlety. Shouting passes for acting. Same with McGregor. Humping and yelling. Trying to fool an audience into believing it's drama. And on it goes for almost two tedious hours never matching the pace of the first fifteen minutes, pausing in all the wrong places and showing occasionally the promise of a good movie but never fulfilling it. And we're reminded at the end that Joyce became a great writer. So there. In case you didn't know. Best thing in the film? McGregor and Lynch singing a duet. Pity they didn't make it a musical. Anything would have been better than this self indulgent pap.

On the DVD there is an interview - of sorts - with the leads and with the director. Looking bored with the whole thing. And a short selection of the crew at work (why? to fill up space on the disc?) And a trailer. Wish I could get my money back on this one. Nora is not even a good bad film. Nora is a


A GENIUS AND HIS MUSE   August 10, 2001
 29 out of 31 found this review helpful

James Joyce (Ewan McGregor) as a young university student finds his spiritual and sexual equal and partner in life in Nora Barnacle (Susan Lynch). Although the class difference is obvious to all but the pair, they fall in love against the advice of his friends who lust after Nora. Joyce convinces Nora to join him in Italy where he has a teaching position. The two begin their lives together living beyond their means, dressing fashionably, and fighting while raising children. Nora is anything but a quiet professor's wife. She is the life force that motivates Joyce. Although one of the major literary talents of the twentieth century, Joyce as McGregor presents him is insecure, neurotic, and insanely jealous. Theirs is a volatile relationship prone to public outbursts and sexual abandon.

Susan Lynch won the best actress award at the Dublin Film Festival for her performance as the earthy muse whose presence is as much a torture as inspiration to Joyce. Ewan McGregor in his first adult leading role proves he has matured as an actor of solid talent and sensitivity beyond juvenile leads. Shot on location in Ireland and Italy, Nora is a small independent film produced by McGregor's production company, Natural Nylon, and likely to be overlooked by most audiences. However, if solid acting, adult story lines, and turn-of-the-century costume biopics are your cup of tea, this film is worthy of its purchase price. The DVD version includes interviews with principal actors and director Pat Murphy.