Ever wander around a European art gallery and wonder how so many of the works found their way into the building? While the majority have been obtained through legal means, Woman in Gold presents a convincing argument that many may have arrived under dubious circumstances. Truthfully, the movie tries far too hard to elicit sentiment and big emotional moments from its source material, but it possesses enough unique courtroom theatrics between the melodrama to earn a minor recommendation.
Based on a true story, the plot follows Maria Altmann (Helen Mirren), an Austrian immigrant to the US who attempts to reclaim a portrait of her aunt taken away by the Nazi party during World War II. However, what seems like a fairly straight-forward request becomes mired in red tape. Now residing in the Austrian State Gallery, it becomes clear that the curators have no intention of returning the property (now worth an incredible sum). Assisted by young attorney and family friend Randol Schoenberg (Ryan Reynolds), the pair concoct an unprecedented legal maneuver to try and regain control.
Courtroom dramas are a dime a dozen, but the case itself is so unusual that the scenes in this film are by far the most interesting. It is amusing to see the young, inexperienced and occasionally panicked Schoenberg attempt new and unusual motions (that include walking into the Austrian embassy and presenting a civil action case against the county), as well as see the character slowly become personally invested in the outcome of the case. The stars make the most of their odd-couple pairing, and it does result is some levity along the way.
For this reviewer, what isn’t as strong are the numerous wartime flashbacks of Maria and her family in Vienna. These includes scenes with her aunt, and later as a young woman fleeing the country while it is being annexed. While one can see this as an attempt to add extra tension and drama to the proceedings, it isn’t really necessary. We already know exactly what happened to Maria, which dissipates some of the suspense. At times, it feels a bit forced and heavy-handed.
The legal climax also arrives a bit too quickly. The following 10 minutes contain several moments with a pensive Maria thinking once again about past events in her homeland. While the final flashback involving a return to her childhood residence is effective, after all of the repetition this scene takes on a muted quality, feeling like an obvious attempt to manipulate viewers.
And when you have an Oscar-winning actress like Helen Mirren, it seems a shame to cut away so often, especially when she could easily tell her story just as dramatically to her legal team. In fact, it might have also added more of a reveal and punch to the final flashback if the technique hadn’t been so liberally applied throughout.
But while the film could have used more dramatic restraint in making its point, the legal process of restitution and reclaiming a work of art is uncommon subject matter for the big screen. And these scenes are intriguing. The presentation of material certainly may not be as strong as it should be, but the cast make the most of what they have to work with. Woman in Gold isn’t as striking as its subject matter. Still, those who are curious about this true story will find it unique enough to warrant a look.