Heavy With Poignancy ëVera Drakeí Is Portrait Study of Woman Working as Abortionist by Ky N. Nguyen One of the key issues surrounding the U.S. presidential election is the potential overturning of Roe v. Wade, the 1973 U.S. Supreme Court ruling decriminalizing abortion. Many pro-choice activists say that under a second Bush term, more conservative judges appointed to the high court might repeal the act. The U.S. release of British filmmaker Mike Leighís remarkable ìVera Drakeî is thereby extra topical. Its story revolves around the eponymous character in post-war Britain who squeezes ìhelping poor girlsî into her busy schedule. In the United Kingdom, abortion was illegal until the 1967 Abortion Act. Vera cleans houses for several upper-class employers, manages her household of a husband and two grown children, and cares for her ill mother as well as her neighbors. Sheís like the Energizer bunny, never faltering in taking care of business. Sheís kind to everyone, offering a cup of tea to brighten the day. Throughout her chores, she carries on in quite a cheerful, matter-of-fact manner. Such an attitude continues when she performs saline abortions in womenís homes, a task for which she takes no money. Whe n a medical emergency results in Vera being caught by the police, her secret life on the side is over. In post-war Britain, there are lingering hardships and the vivid memories of recent heavy sacrifices. Shortages of necessary staples are filled by black marketers such as the woman who acts as Veraís abortion broker. The latest work from Leigh (ìSecrets and Lies,î ìTopsy-Turvy,î ìNaked,î Life Is Sweet,î ìHigh Hopesî) sharply observes the class distinctions of the time period. Working-class ìgirls in troubleî can only turn to the likes of Vera. Meanwhile, the posh daughter of one of her employers can find a psychiatrist willing to testify that a continued unwanted pregnancy poses a threat to the motherís life because she might commit suicide. This loophole in the law, generally a mere formality, offers legal abortion to those who can afford it. Playing Vera, Imelda Staunton is mesmerizing on screen. She won a well-deserved Best Actress at the Venice Film Festival (which awarded the Golden Lion to Leigh and ìVera Drakeî). Stauntonís fellow actors are also convincing in their display of both humanity and more despicable human qualities. More than simply a movie about abortion, ìVera Drakeî is also a poignant character study, family drama and social commentary. ìVera Drakeî (English; 120 min.) is now playing at Landmarkís Bethesda Row Cinema. ëFinding Neverlandí: A Man Avoids Growing Up In ìFinding Neverland,î a man full of imagination struggles to balance his creative impulses versus his obligations as a member of high society in Victorian England. The conflicted protagonist is playwright J.M. Barrie (played by American Johnny Depp), most famous for creating ìPeter Panîóan improbable success born out of a straight-laced climate. In London, playwright Barrieís latest work is a bomb. Tolerant theater impresario Charles Frohman (American Dustin Hoffman in an amusingly entertaining role) sends Barrie off to write another play. He finds his muse in the park, stumbling across three young boys and stalwart widow Sylvia Llewelyn Davies (English star Kate Winslet). His increased playtime with the family raises eyebrows from his neglected social climber wife (Australian Radha Mitchell) and the boysí elegant grandmother, Mrs. du Maurier (British legend Julie Christie). David Mageeís crisp adapted screenplay, from Allan Kneeís play, flows very smoothly. Itís complemented by director Marc Forsterís keen grasp of the movieís visual look, particularly in the scenes where Barrieís imagination comes to life. The fine ensemble acting is accordingly restrained and emotionally tear-jerking at the proper times. Depp delivers a quietly powerful performance as Barrie, demonstrating the difficulties his character faces within the suffocating constraints of his social situation. Swiss director Forster (with whom Halle Barry won an acting Oscar for ìMonsterís Ballî) may direct Depp to another Academy Award nomination (following last yearís nod for ìPirates of the Caribbeanî). ìFinding Neverlandî (English; 101 min.) opens Fri., Nov. 12. ëThe Machinistí: Gross Fatigue For ìThe Machinist,î Welsh actor Christian Bale dropped 63 pounds (which he had to quickly regain for ìBatman Beginsî) to play Trevor Reznik, a machine worker who hasnít slept in a year. His shockingly emaciated form is the center of this Spanish-financed thriller. In his dreamlike state, Reznik becomes a danger to himself as well as his coworkers in the factory where he works. Strange things start to happen in this David Lynch-like world, such as a bleeding refrigerator and freak accidents. Reznik has dual relationships with a waitress (Aitana S·nchez-GijÛn) and a hooker (Jennifer Jason Leigh). American director Brad Anderson (ìNext Stop Wonderland,î ìHappy Accidents,î ìSession 9î) creates an eerie ambience that envelopes the viewer. Spookily photographed by Spaniard Xavi GimÈnez (ìIntactoî), the ghostly visual lineage from recent Spanish horror movies is evident. Roque BaÒosís Bernard Hermann-like score propels the creepy story. ìThe Machinistî (English; 102 min.; scope) is now playing at Landmarkís E Street Cinema. Repertory Notes The always popular European Union (EU) Film Showcase, featuring films from world festivals, runs through Nov. 7 at the American Film Institute (AFI) Silver Theatre and National Film Theater at the Kennedy Center. New Films From the Czech Republic play Nov. 17 to 20 at the Silver. A re-release of Peter Davisís Vietnam War documentary ìHearts and Mindsî continues at the Silver. ((301) 495-6700, www.afi.com/Silver) ((202) 785-4600, www.afi.com/onscreen/nft/nft.aspx) The Best of INPUT 2004, a public broadcasting conference, screens Nov. 9 to 13 at venues around the area. ((202) 885-3107, www.centerforsocialmedia.org/input2004.htm) The National Gallery of Art and La Maison FranÁaise present a retrospective with fresh prints of French New Wave pioneer Jean-Luc Godard, from 1959ís ìBreathlessî to his latest film work. Godard is expected to make a rare personal appearance. At the National Gallery, the series From the Lands of Abraham features films from Turkey, Iran and Afghanistan. ((202) 842-6799, www.nga.gov/programs/film.htm) ((202) 944-6091, www.la-maison-francaise.org/en_cinejav.htm) Discoveries 2004, the Freer Gallery of Artís third annual showcase of new films from Asia, includes recent work from Tian Zhuangzhuang (China), Toshiaki Toyoda (Japan) and Hou Hsiao-hsien (Taiwan). ((202) 357-2700, www.asia.si.edu/events/films.asp) Ky N. Nguyen is the film reviewer for The Washington Diplomat.