Now 32, he possesses an innate modesty and graciousness, a sense of his extreme good fortune, that a lineage of British baronets, coupled with a world-class education, polished with a once-in-a-lifetime hit TV show that made him one of the highest-paid actors on the planet, can instill. Harington’s eyes are espresso-bean brown, and although his Jon Snow curls, expertly groomed stubble and manly cloaks of fur conspired to make him a bit more fantastically dreamy on Game of Thrones, in person, he is quite handsome enough for any one human being to be. Instead, we behaved like two people sitting beside each other at a lunch counter gamely making polite conversation and maintaining studious eye contact even though we’ve both spilled soup all down our shirts. So if the circumstance of my interview with Harington had been different – if it hadn’t been during TIFF if the clock hadn’t been ticking so insistently if other reporters weren’t lined up in the hall for their turns with Jon Snow if there hadn’t been so many handlers handling things so handily – I might have ventured a question about films that swing and miss, and we might have had an interesting conversation about artistic disappointment. Review: Xavier Dolan dies the death of a thousand cuts with The Death and Life of John F. It was a case of much too much adding up to nothing much at all. (It’s finally being released on Friday.)ĭolan had set out to make – as far as I can tell – a meditation on which sides of ourselves we show to the world, and when, using the secretly gay celebrity Donovan (Harington) as his example and a movie about how the entertainment industry conspires to keep gay actors in the closet and a story about a boy named Rupert (Jacob Tremblay, playing a younger version of Dolan himself) who falls into a letter-writing relationship with Donovan, accidentally causing the actor to be labelled a pedophile and a parallel story about Donovan’s and Rupert’s demanding mommies (Susan Sarandon and Natalie Portman, respectively) and then he’d mashed them together and shoehorned them into a framing device featuring the now-grown Rupert (Ben Schnetzer) telling his story to a reluctant celebrity reporter (Thandie Newton). Director/co-writer Xavier Dolan had written the script numerous times, shot and then re-shot it, and edited it for, literally, years. Donovan, we both knew the movie was a mess. By the time I sat down with Kit Harington at last year’s Toronto International Film Festival to talk about The Death and Life of John F.
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