The Guilt of a Constant Gardener

When movies take their social role seriously, two things can happen: Either end up being didactic and boring or touch an inner chord of the audience. Now, most of us will agree about under which category ‘The Constant Gardener’ falls.
‘But I have no home. Tessa was my home’
For those who are still looking for the motivation behind Ralph’s Fiennes actions, the reason for his transformation from a quiet person to an enraged ‘Sherlock Holmes’, from a quiet gardener to a constant one, these are the words to explain everything. Love. Guilt. Regret. And then justice.
This film may very well be a cry against the big pharmaceutical companies that exploit the Third World population under the cover of charity but what makes it work is the fact that is driven by love. Fernando Meirelles whose ‘’City of God’’ shaked audiences all over the world a couple of years ago, keeps the political tones high: you see how corporation evil is everywhere, controlling politicians and media, protected by the vast amount of money it can invest. Attempts like these of Rachel’s Weisz character to put a limit in the cruel utilization of the African people by these companies are condemned to failure. How can one person succeed in such a suicide mission? But she was an activist, a fighter and a dreamer, not giving up; so, she has to die.
Ralph Fiennes loved her. He had started to doubt her love for him and so did we, since in the film we are presented with his point of view. But after she dies, he finds out how much she loved him. Tragic irony. The more he dives into her research, the more he thinks about her and scenes from their marriage fill the screen with warmth and tenderness, making her absence and his loneliness even greater. Of course, Ralph Fiennes is appalled by what he discovers: The Africans are used as guinea pigs for a new medicine; if they refuse, they are refused their free medication for HIV. Not much of a choice, right? And this is just the beginning of the revelations. But I insist that his mission is fuelled by his wish to complete his wife’s project and this way to cleanse himself from the guilt because he questioned her motives, and above all her love.
I won’t spoil the ending; I will just say that there is a small ray of light although in real life I am afraid there is no light in the end of the tunnel. Because now Evil has no face, it is not a person, it is a corporation. It is like the hydra; you chop off one head and two take its place. Ralph’s Fiennes face in the end agrees with my idea, I think...
PS: I know that Oscars are not really important. But Ralph Fiennes’ absence from the Best Actor nominations is just scandalous. One of the most human, original, heart breaking performances ever. No need to shout, his eyes were silently screaming. Oh, boy.