Junebug

Directed by Phil Morrison and written by Angus MacLachlan, Junebug is the story of an art dealer who travels to North Carolina with her husband to meet his eccentric family that includes his brother’s young and pregnant wife. The film is a family comedy-drama that explores not just a family that off the wall but a woman trying to understand where her husband comes from. Starring Embeth Davidtz, Alessandro Nivola, Celia Weston, Scott Wilson, Benjamin McKenzie, and Amy Adams. Junebug is a witty and delightful film from Phil Morrison.

After meeting a man at her art gallery and then marrying him, the film is about a woman who travels to North Carolina with her husband to meet a reclusive painter as her husband’s family live nearby where she wants to meet them. Along the way, she would get to know this family of eccentrics that includes her brother-in-law’s sweet yet naïve wife who is pregnant. Angus MacLachlan’s screenplay doesn’t just follow the life and work of Madeleine (Embeth Davidtz) who runs an art gallery in Chicago that explores outsider art. It’s the fact that she is now part of a family with very strong Southern values as they’re a bit wary of her though she means well. Madeleine’s husband George (Alessandro Nivola) is reluctant about not just introducing her to his family. It’s also because he hadn’t been back home for years as it has caused resentment from his younger brother Johnny (Benjamin McKenzie) who is going through issues as he’s living at home with his parents and young wife Ashley (Amy Adams).

While George’s father Eugene (Scott Wilson) is welcoming towards Madeleine, his wife Peg (Celia Weston) isn’t receptive towards Madeleine as is Johnny who is uneasy about Madeleine’s presence towards Ashley who loves her. Yet, Madeleine would notice that there is tension in the family as she tries to balance her time with the family as well as deal with a competing art gallery from New York who also want the artwork of the local artist David Wark (Frank Hoyt Taylor). The time spent with the family would also become more problematic despite Ashley who is the embodiment of innocence as Madeleine is fascinated by her as she wants to be there for the young woman. Yet, the looming tension within the family would come to ahead once Ashley goes into labor as it becomes clear where everyone is at.

Phil Morrison’s direction is quite simple as it is shot largely on location in North Carolina through a trio of small towns including Winston-Salem as it doesn’t go for anything that is visually-striking. While there are a few wide shots, Morrison aims for something more intimate from the scenes inside the car to some of the local gatherings the characters go to. There are some camera movements in the film yet it is more about the simple aspects of George and his family as well as Madeleine being an outsider into this world. Morrison’s compositions are more concerned with the family unit as well as the tension that is looming with Madeleine being this observer. Still, she does get into moments that are uncomfortable such as a scene where she’s trying to help Johnny prepare for his GED exam as well as being there for Ashley. The film’s third act isn’t just about Madeleine kind of being left out as she would attend to her own business but also the resentment involving Johnny and George. Notably as it reveals why the latter hasn’t been coming back home lately with Ashley somewhere in the middle of this family tension. Overall, Morrison creates a heartfelt yet lively film about a woman meeting her new husband’s oddball family.

Cinematographer Peter Donahue does excellent work with the film‘s cinematography as it is mostly straightforward with its usage of lights for the scenes set at night. Editor Joe Klotz does nice work with the editing as it‘s mostly straightforward with a few jump-cuts and fade-outs for transitional scenes from the latter. Production designer David Doernberg and set decorator Sara Parks do fantastic work with the look of the family home in all of its quaint objects as well as the art gallery that Madeleine works at.

Costume designer Danielle Kays does terrific work with the costumes as it is mostly casual with some of the more city-like clothing of Madeleine and the colorful clothes that Ashley wears. Sound editor Eric Offin does superb work with the sound as it is mostly low-key and sparse to play into the surroundings and locations in the film. The film’s music by the indie-rock band Yo La Tengo is wonderful for its low-key indie-rock music with sparse guitar melodies and textures as the soundtrack mostly feature some classical music, traditional gospel, and a soul song written by Stevie Wonder.

The casting by Mark Bennett is great as it feature some notable small roles from Alicia Van Couvering as Madeleine’s gallery assistant, Joanne Pankow as Wark’s sister/attorney, and Frank Hoyt Taylor as the eccentric yet reclusive artist David Wark that Madeleine meets and want to present his art to the world. Scott Wilson is superb as George’s father Eugene as a man who is very receptive to Madeleine as she is interested in his work creating birdhouses and stuff out of wood. Celia Weston is fantastic as Peg as a woman who adores her son George though is wary about Madeleine as she sees her as kind of a snob and not good enough for George. Benjamin McKenzie is excellent as Johnny as George’s younger brother who doesn’t really like Madeleine very much yet harbors some issues towards his older brother which also has him feel strained towards Ashley.

Alessandro Nivola is brilliant as George as a man who falls for and marries Madeleine as he is reluctant to see his family where he copes with not just old issues but also trying to make Madeleine feel like part of his family. Embeth Davidtz is amazing as Madeleine as a British art gallery owner who is fascinated by outsider art as well as get to know George’s family where she finds a bond with both George’s father and Ashley. Finally, there’s Amy Adams in an incredible breakthrough performance as Ashley as this talkative and lively pregnant woman who is hoping a baby would help her marriage to Johnny as she is so full of innocence and wonderment that makes the character a pure joy to watch.

Junebug is a remarkable film from Phil Morrison. Featuring some beautiful images, a compelling story, superb music, and a great cast led by Amy Adams in a career-defining performance. It is a true gem of a film that explores unique family dynamics as well as a woman trying to see where her husband comes from. In the end, Junebug is a marvelous film from Phil Morrison.

© thevoid99 2016

The Intern (2015 film)

Written and directed by Nancy Meyers, The Intern is the story of a 70-year old man who decides to intern at a fashion start-up company where he brings guidance to its young CEO. The film is a tale of an old man trying to find some usefulness in his life while helping a young woman find balance in her life as a CEO and as a wife/mother. Starring Robert de Niro, Anne Hathaway, Rene Russo, Anders Holm, Andrew Rannells, Adam DeVine, Christina Scherer, and Zack Pearlman. The Intern is a delightful and heartfelt film from Nancy Meyers.

The film is a simple story about a 70-year old widower who has given up retirement as he decides to become an intern for a e-commerce start-up fashion company that is run by a young woman who is trying to balance her life as a working woman and as a wife/mother. While she is reluctant to hire this old man to be her personal intern, she eventually warms up to his service as well as getting some guidance in what she needs in her life. It’s a film that is very simple as writer/director Nancy Meyers creates a story where the old help guides the young while the young gives the old something to do in his life. The script isn’t just about that meeting of old and new but also in how they can coexist where Ben Whittaker (Robert de Niro) becomes a source of inspiration and drive to many of the young workers including the CEO Jules Ostin (Anne Hathaway).

Even as he would drive her to work and such as well get to know her family while becoming someone who guide her about what to do as she is considering taking in a CEO to help run the company that she built so she can spend more time with her family. The subplot that revolves around Jules considering taking in the CEO plays into her struggle to be with her family while she isn’t sure about taking orders from someone who might change everything she’s worked so hard to build. It plays into Jules turning to Ben for guidance while Ben is someone that knows his role but also give other younger interns the chance to express themselves more where they help him deal with the new world he is in. At the same time, he meets a middle-aged masseuse in Fiona (Rene Russo) as they share similarities in not just aging but also proving that they still have something to live for.

Meyers’ direction is quite simple where she doesn’t really go for any stylish visual traits as it’s really more about the world of the start-up fashion company where everyone is working on a computer or a laptop taking orders and such. Shot largely in the Brooklyn area in New York City with a few shots around San Francisco, the film does play into this idea of a new version of New York City that is for the young yet its older residents of the city still have a place in. Many of the compositions are simple with some wide shots of the cities but Meyers largely relies on medium shots and close-ups to maintain an intimacy as well as capture some of the chaos of the work place. Some of the humor in the film is lighthearted as it’s not forced as it’s more careful in its timing but also find a way to be loose and fun. There is an air of sentimentality as it relates to Ben and his friendship with Jules where it’s about him trying to be useful and live his life while helping her find the balance of being all things as she deals with issues in her own family life. Overall, Meyers creates witty and enchanting film about a 70-year old man interning for a young woman’s start-up fashion company.

Cinematographer Stephen Goldblatt does excellent work with the film‘s cinematography as it‘s largely straightforward in terms of the interior/exterior lighting schemes as well as the look for some of the scenes set at night. Editor Robert Leighton does nice work with the editing as it is straightforward with a few jump-cuts for stylistic reasons as well as a montage scene of Ben getting ready for work. Production Krist Zea, with art directors W. Steven Graham and Doug Huszti and set decorator Susan Bode, does fantastic work with the look of the place where everyone works at as well as the homes of Jules as well as Ben‘s home that includes his lavish closet. Costume designer Jacqueline Demeterio does brilliant work with the costumes from the clothes that Jules is selling as well as her own style of clothing to the suits that Ben wears to work that would inspire the younger interns.

Visual effects supervisors Bruce Jones, Mark Russell, and Hameed Shaukat do terrific work with some of the film‘s minimal visual effects as it‘s mainly bits of set dressing for some of the film‘s exterior scenes and some of the text that is displayed on phones and such. Sound editors Dennis Drummond and Sean Massey do superb work with the sound from the way many of the phones and computers sound in work as well as the sense of chaos that goes on in the job. The film’s music by Theodore Shapiro creates a wonderful score that is a mixture of jazz, orchestral, and pop that play into the vibrancy of the work place while music supervisors George Drakoulias and Randall Poster create a mixture of contemporary pop from Meghan Trainor, Kendrick Lamar, Busta Rhymes, and Tegan and Sara to more old-school music from Ray Charles, KC & the Sunshine Band, Billie Holliday, Astrud Gilberto, Gene Kelly, and Benny Goodman.

The casting by Tiffany Little Canfield, Laray Mayfield, Bernard Telsey, and David Vaccari is great as it feature some notable small roles from Mary Kay Place as the voice of Jules’ mother, Linda Lavin as a friend of Ben who often tries to flirt with him, Celia Weston as another senior intern who would briefly replace Ben as Jules’ driver, Nat Wolff as one of Ben’s interviewers, and JoJo Kushner in a wonderful role as Jules’ daughter Paige. Josh Orley is terrific as Lewis as an intern who is fascinated by Ben’s old briefcase as he would help him out while Christina Scherer is amazing as Jules’ secretary Becky who feels like she doesn’t get enough credit for her contributions. Zack Pearlman is fantastic as Davis as a new intern who befriends Ben as he seeks his help in finding a home while Adam DeVine is hilarious as Jason as a veteran intern that is trying to go out with Becky as well as help the guys in any of the situations that happen. Andrew Rannells is excellent as Jules’ fellow executive Cameron who would start the seniors intern program as well as try to give Jules his views on hiring a CEO to help run things with Jules.

Anders Holm is superb as Jules’ husband Matt as a stay-at-home dad who befriends Ben as he tries to maintain his role at home but would do something that would cause trouble for Jules in their family life. Rene Russo is brilliant as Fiona as a middle-aged masseuse that Ben falls for as she finds him to be a charming and mature man that she can hang out with. Anne Hathaway is remarkable as Jules Ostin as a woman who has created her own company as she is trying to balance her work but also her family life where Hathaway brings that sense of obsessive-compulsiveness but also the desire to be a mother as it’s one of her finer performances. Finally, there’s Robert de Niro in a phenomenal performance as Ben Whittaker as a 70-year old widower who gives up retirement to do something with his life and feel useful where it’s de Niro filled with charm and a bit of low-key humor but also have this sense of fatherly warmth with the young actors while having some amazing rapport with Hathaway that is the heart of the film.

The Intern is a marvelous film from Nancy Meyers that features top-notch performances from Robert de Niro and Anne Hathaway. It’s a film that doesn’t take itself seriously as well as be good old-fashioned light-entertainment with a sense of wit and characters that audiences of all ages can care for. In the end, The Intern is an excellent film from Nancy Meyers.

Nancy Meyers Films: (The Parent Trap (1998 film)) - (What Women Want) - (Something’s Gotta Give) - (The Holiday (2006 film)) - (It’s Complicated)

© thevoid99 2016

Hulk

Based on the Marvel comic by Stan Lee and Jack Kirby, Hulk is the story of a scientist who turns into a huge, green monster whenever he gets angry as he fights off various enemies while wanting to calm the beast from within. Directed by Ang Lee and screenplay by James Schamus, Michael France, and John Turman, that is based on a story by James Schamus. The film is an origin story of how Bruce Banner became the Incredible Hulk as well as his troubled relationship with his father David. Starring Eric Bana, Jennifer Connelly, Sam Elliot, Josh Lucas, Celia Weston, Cara Buono, and Nick Nolte. Hulk is a dazzling and stylish comic-book action-drama from Ang Lee.

Bruce Banner (Eric Bana) is a young scientist working at Berkeley as he and ex-girlfriend Betty Ross (Jennifer Connelly) are experimenting with regeneration. Though the experiments are still a work in progress, it gets the attention of Major Glenn Talbot (Josh Lucas) who wants the two to work on the experiments for military reasons. Bruce refuses as an accident during a test has him save a scientist only to be exposed to gamma radiation. Though Bruce seems fine, he starts to have nightmares of strange images that he thinks are from a distant memory as a strange man (Nick Nolte) enters his room claiming to be his real father David. The encounter has Bruce unsure of who he is as the effects of the radiation has him dealing with his own emotions leading to him growing into a big monster.

After Betty learns what happens to Bruce, the incident gets the attention of her father in General Ross (Sam Elliot) who realizes what is happening. Wanting Betty to stay away from Bruce, things go bad when David sends his newly-mutated dogs to go after Betty until Bruce as this new monster saves her. Despite having little recollections about what happens to him as this monster, Bruce reveals to Betty about what it’s like as he’s later captured via tranquilizer by Betty’s father. Taken to a secret base, Bruce learns about his past as General Ross reveals that Bruce’s father conducted an experiment over mutating DNA that could heal wounds and injuries that later went out of control. Yet, David would experiment on himself as it was passed on to Bruce after his birth where things seemed fine. Yet, General Ross learns about the dangerous experiment where things go bad as it led all sorts of trouble.

After Bruce and Betty learn about what had happened those years ago, General Ross wants to do things right until an injured Talbot decides to take control in his desire to experiment on Bruce. With General Ross unable to take control and Betty forced to leave the secret lab, she later meets with David Banner who reveals what he had done as he asks to see Bruce one more time. Instead, Talbot’s attempt to experiment on Bruce goes wrong as the Hulk emerges once again to wreak havoc forcing General Ross and his soldiers to fight. Still, Bruce would later have another surprise in store for him from the man who created him.

The film is essentially an origin story of how Bruce Banner became the Incredible Hulk. Yet, it’s told in a very different style than most comic-book related pictures are presented as the film opens with a prologue of how David Banner created this experiment on mutant DNA regeneration and then pass it on to his son back in the early 1960s. Things eventually go wrong with the military authorities as it would lead to a young Bruce Banner losing his parents at an early age until he becomes a man who is unsure of his past only to discover who he really is and why he could be a threat.

Screenwriters James Schamus, Michael France, and John Turman explore Bruce Banner as a man who starts off as this calm and intelligent scientist that feels haunted by these dreams that he believes are from a distant memory. He’s also someone who doesn’t want to be involved in any kind of confrontation. He’s also a man that has a lot to give as he’s very close with his ex-girlfriend Betty who knows him better than anyone. Even as he becomes the Hulk, she is the one person that can get him to calm down and make him human again. Supporting characters like Betty Ross and her father do have depth as the latter expresses regret over how he handled things in his professional career as well as the estranged relationship he has with Betty.

The one character that adds to Bruce’s own internal conflict is his mysterious father David who is seen as this brilliant scientist who becomes paranoid and fearful over what Bruce might’ve become. Yet, he is later re-introduced as a haggard janitor wanting to finish the experiment he felt he hadn’t come close to finishing. The father-son dynamic of the film, which is a prominent theme to Ang Lee’s earlier work, adds to a dramatic layer rarely told in comic-book based action-blockbusters. It’s a unique element to the film that is well-executed until the third act where things become a bit ridiculous as it would also include a lot of exposition over the events that happened in the film’s prologue.

Ang Lee’s direction is definitely told in a stylish manner as if he wanted to create a cinematic comic book. Featuring arrays of multiple split-screens and dazzling editing styles, Lee aimed what he was looking for to play up some of the film’s action and intense dramatic moments. Yet, there’s parts of these montages that tend to overwhelm the story a bit though it’s part of the spirit Lee wanted to create a live-action comic book. While there’s lots of amazing compositions and styles in the way he will shoot scenes from multiple angles to play up the dramatic tension. Notably as he wants to emphasize on objects or things that will help build up the suspense.

For some of the film’s intense action moments that involve the Hulk, Lee goes for a lot of big scenes with wide depth of field shots set in parts of Utah and Arizona for Hulk’s chase scene. While some of the visual effects do look a bit wobbly, there is still an impressive element to the way they look as Hulk would fight off all sorts of things in the film. Including some of the fights with the exception of the film’s ridiculous climax between Bruce and David Banner. Despite some of the film’s flaws, Ang Lee does manage to create an engaging film that does more than what it is expected in its genre.

Cinematographer Frederick Elmes does excellent work with the film‘s very vibrant and colorful cinematography to play up the different locations of the film while setting dark colors for some of the film‘s nighttime interior and exterior scenes. Editor Tim Squyers does amazing work with the film‘s unique editing to play up varying cutting styles that manages to keep the film‘s brisk pace very while creating some wonderful montages for some of the film‘s dramatic and action moments. Production designer Rick Heinrichs, with art directors John Dexter and Greg Papalia and set decorator Cheryl Carasik, does nice work with the set pieces such as the secret lab that Ross runs to the old 60s home that the young Bruce lived in as a kid.

Costume designer Marit Allen does very good work with the costumes from the nerdy look that Bruce Banner has to the more haggard clothing of David Banner. Visual effects supervisors Dennis Muren and Bruce Holcomb do terrific work with the look of the Hulk, despite some flaws, to capture the hugeness of the monster. Sound designers Eugene Gearty and Gary Rydstrom, along with sound editor Richard Hymns, do superb work with the sound to capture the intensity of the Hulk‘s growls as well as the explosions and other sound effects to play up Banner‘s transformation into the Hulk. The film’s score by Danny Elfman is pretty good for its bombastic orchestral score that features elements Indian vocals in the mix to make it feel different while the soundtrack includes a song by Velvet Revolver in the film’s closing credits.

The casting by Avy Kaufman and Franklyn Warren is brilliant for the ensemble that is created as it includes small appearances from Paul Kersey as the young David Banner, Todd Tesen as the young Ross, Mike Erwin as the teenage Bruce, Rhiannon Leigh Wryn as the adolescent Betty, Michael and David Kronenberg as the young Bruce, Kevin Rankin as Bruce and Betty’s scientist friend Harper, Celia Weston as Bruce’s stepmother, Cara Buono as Bruce’s real mother in the film’s prologue, and as a couple of security guards early in the film, Stan Lee and the original Hulk in Lou Ferrigno, who also does the voice for the Hulk. Josh Lucas is terrible as the villainous Talbot as Lucas does nothing to a very typical villain as he ends up looking very smug and tries to be intimidating only for him to end up being a complete moron.

Sam Elliot is excellent as General Ross as a man that wants to keep Bruce under control in hopes to not the same mistakes that he did years ago though he has issues trying to do what is right as he is estranged from his daughter. Nick Nolte is pretty good as the mysterious David Banner who tries to help Bruce in finding a cure only to have regrets as it’s a very intense one from Nolte though he goes over-the-top late in the film. Jennifer Connelly is quite fine in her role as Betty Ross as she does present as the emotional calm for Bruce though her character at times is a bit underwritten. Finally, there’s Eric Bana as Bruce Banner where Bana definitely gets to show the conflict in Banner as well as a man who is consumed by fear only to give in to the anger as the Incredible Hulk where Bana manages to create a very compelling performance.

Though it’s flawed in terms of its presentation, Hulk is still an entertaining film from Ang Lee thanks in part to Eric Bana’s reserved performance. While it’s not one of the great films of the comic book origin films nor among one of Lee’s best work. It is still a film worth seeing for the way Lee chooses to present the film that does make it stand out from the rest. In the end, Hulk is a fun action-drama from Ang Lee.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Brokeback Mountain - Lust, Caution - Taking Woodstock - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

Related: Iron Man - The Incredible Hulk - Iron Man 2 - Thor - Captain America: The First Avenger - The Avengers (2012 film)

© thevoid99 2012

Far from Heaven

Originally Written and Posted at Epinions.com on 1/7/04 w/ Extensive Revisions & New Content.

Written and directed by Todd Haynes, Far from Heaven is the story of 1950s Connecticut housewife whose idyllic life and marriage shatters upon the discovery of her husband's homosexual tendencies.  With her husband going to treatment, the wife begins to fall for her black gardener.  The film recalls Haynes' themes of repression in the home life and in homosexuality, which was taboo in the 1950s.  The film is also a tribute to the film of Douglas Sirk, famous for such melodramatic films such as All That Heaven Allows and Imitation of Life.  Starring Julianne Moore, Dennis Quaid, Dennis Haybert, Viola Davis, and Patricia Clarkson.  Far from Heaven is a lush and enchanting drama from Todd Haynes and company.

It's 1957 in Hartford, Connecticut as a beautiful housewife named Cathy Whitaker comes home and brings grocery to her lovely house with her perfect family including son David (Ryan Ward) and daughter Janice (Lindsay Andretta). Her husband Frank is at work in his corporate office while Cathy is at home with help from her black maid Sybil (Viola Davis). Cathy seems to have the perfect life much envy but she seems to think her life is just like everyone else’s as a local newspaper editor Mrs. Leacock (Bette Henritze) wants to do a profile on her. On that day, she sees a black man in her backyard that turns out to be her new gardener Raymond Deagan (Dennis Haysbert), who is replacing his late father, who was the family’s old gardener.

While Cathy’s life seems to be perfect, she still has to contend with the town’s gossip queen Mona Lauder (Celia Weston) while she often talks gossip about sex and home life with best friend Eleanor Fine (Patricia Clarkson). Cathy then seems to notice about her husband’s behavior as he often works late, doesn’t spend a lot of time at home, and most recently was arrested for drunken behavior. One night when she decides to bring his dinner to his work place, she finds Frank kissing another man in his office, as she is both shocked and confused. Frank doesn’t know why he behaves like this as he goes to see psychiatrist Dr. Bowman (James Rebhorn) to seek some sort of treatment. Cathy just wants to move on and please her husband as she begins to talk more with Raymond, who is a single parent that owns a plant shop outside of Hartford. She meets with and his daughter Sarah (Jordan Puryear) at an art gallery Eleanor was hosting, as Raymond says some very intelligent things about a Miro painting. Cathy is extremely impressed with his knowledge and sensitivity while the townspeople are lurking over what is going on.

Later at a dinner party hosted by Cathy, she finds herself uncomfortable by the talks of integration in Hartford while Frank is getting drunk at the party. When it ends, Frank tries to make love to her but couldn’t but she says it’s OK as he accidentally hits her. Eleanor comes to the house the next day to pick up some things as she sees the bruise on Cathy’s head as Cathy nearly breaks down in front of her and later, in front of Raymond. Raymond comforts her as he takes her to a park to buy flowers for the garden and a restaurant nearby a car shop where Mona sees the two. Raymond takes Cathy to the restaurant where the restaurant’s all black-patrons look on with ill ease as Raymond ignores their look as Cathy finds Raymond charming.

Rumors begin to swell over what Mona saw as Eleanor begins to ask Cathy what’s going on as Frank is suggesting that Cathy is having an affair where she insists, nothing happened. Cathy had no choice but to fire Raymond but Raymond doesn’t want her to ignore things but understands why they couldn’t be together. Around Christmas time, Frank and Cathy go on a vacation by themselves as Frank’s homosexual tendencies are tested again and he begins to fall apart. Cathy then learns that school kids attacked Raymond’s daughter, as she is saddened at where her life is and realizes that there’s no such thing as a perfect life.

What makes Far from Heaven such an exquisite, delicate little film isn’t just its colorful, ravishing look but its restrained melodrama from its actor and film’s script. Todd Haynes, who is known for such films as Safe, Velvet Goldmine, and the controversial Poison, makes a movie that isn’t just a lovely tribute to Douglas Sirk’s work but also makes them superior to some of today’s modern drama films. He brings in some trained, old school acting style back from the 1950s but with a modern humanistic tone that makes the characters entertaining and real at the same time. Haynes goes for elements of suspense and drama at its most heightened or just making it linear to the story. Especially in the film’s racial tension where it isn’t just the whites looking very discomforted but blacks as well as they too, don’t like the idea of this handsome, intelligent black man talking with this beautiful, charming white woman. It’s stories like that, that are so ahead of its time and Haynes takes it back in time and makes it look fresh.

The look of the film is just breathtaking thanks in large part to cinematographer Edward Lachman. Lachman’s use of color, lighting, and wide-angle shots are so divine, it leaves you breathless as if you’re back in the 1950s. His look is both rich and luscious in its tone and works in its dramatic setting, along with the production design from Mark Friedberg who places all sorts of details of 1957 Hartford from its cars and buildings, to the housings. The film’s art director Peter Rogness should be credited for the film’s colorful look, especially with its fall-like setting of colorful leaves and green grasses. Even the costumes by designer Sandy Powell is filled with life with the big dresses Julianne Moore wore to the more tightened, clothing Patricia Clarkson was wearing along with suits and tuxedos Dennis Quaid and Dennis Haysbert wore.

Another great element that brought suspense to the film was Elmer Bernstein’s orchestral score. From its subtle, heartfelt moments, Bernstein brings in a touch of light, smooth orchestral music that just worked while in the more intense dramatic moments, he just strikes with emotional power the way drama should work. At times, it makes your hair stand as if you’re watching a highly emotional scene with immense intensity.

The film’s performance is just top-notch from the smaller roles like the Whitaker’s children and townspeople including the cheery Mrs. Leacock and the lecherous gossip queen Mona Lauder. Even the more standout roles like James Rebhorn’s Dr. Bowman are played at a subdued, restrained tone which some aren’t used to seeing for those who know Rebhorn for playing asshole-like characters. Viola Davis’ role as the maid Sybil is noted just for its quiet tone as she strays away from the cliché of an African-American maid in the 1950s. Instead, Davis just plays the role from a more subdued, discipline role, as she knows what’s going on between Raymond and Cathy but isn’t saying anything although she isn’t pleased.

The film’s best supporting performance overall goes to Patricia Clarkson as Moore’s best-friend Eleanor. Clarkson gives a raspy, cool tone to her performance as she plays the best friend without descending to other type of clichés where she is the one trying to help her and knowing where she shouldn’t be at. Clarkson is just enigmatic in both her delivery and grace. Dennis Haysbert is by far the film’s most impressive male performance as again, he strays away from stereotypes. Haysbert brings in a relaxed, wise tone to Raymond by just being this African-American character that knows where his place is although isn’t afraid to cross the world he isn’t supposed to be in. It’s the fearlessness that’s impressive as Haysbert proves to be more versatile with each performance and is understandably one of the most underrated actors around.

Dennis Quaid brings in his best performance to date as the tortured mess known as Frank Whitaker. At times, Quaid brings in restraint to his character when it’s needed while being shady in places he’s trying to hide in while breaks down in front of his children in the more dramatic performances. Quaid is just amazing in the way he reveals his internal conflict. Julianne Moore is the film’s best performance as she brings in both beauty and intelligence to her performance while trying not to act phony. She does play that 50s housewife trying to please her husband but she develops into a stronger woman who realize that images aren’t what they seem. It is definitely her most radiant performance of her career.

***The Following Content was Written on 4/7/11***

The 2003 Region 1 DVD for Far from Heaven from Universal presents the film in its 1:85:1 theatrical aspect ratio for the widescreen format. Also presented in 5.1 Dolby Digital and DTS Surround Sound in English and Dolby Surround in French plus subtitles in English, French, and Spanish. The look of the film is gorgeous in displaying the lush photography of Edward Lachman as well as the sound work of Kelley Baker.

The special features of the DVD includes a feature-length commentary track from the film’s writer-director Todd Haynes. Haynes discusses the film’s production and inspiration including reading quotes about film theory from Douglas Sirk as well as Rainier Werner Fassbinder’s thoughts on Sirk’s films. Haynes also revealed that because of the small budget and limitations they had as they were shooting the film on New Jersey. The production was tense though they got through it quite easily. Haynes reveals that since he wanted to recreate the look of Sirk’s films for Far from Heaven, he worked closely with Edward Lachman, production designer Mark Friedberg, and costume designer Sandy Powell about how it should look.

Haynes revealed that during the shooting, Julianne Moore was early in her pregnancy as Sandy Powell did create clothes that would make her comfortable. Haynes praised the work of the actors while he revealed that Dennis Haysbert had a difficult time due to the fact that he had to fly back and forth from New York to Los Angeles for his work on the show 24. Haynes also discusses the story and how he wanted to give it a Sirk-like feel while adding a bit of Fassbinder to some of the characters and in tone of the film. Particularly with the editing as the transitions were partially inspired by Fassbinder’s films. The overall commentary is an enjoyable treat that allows Haynes to reflect on the film and such.

The 27-minute Anatomy of a Scene special from the Sundance Channel is about the making of the party scene at the Whitakers’ home. Haynes along with Julianne Moore, Dennis Quaid, cinematographer Edward Lachman, production designer Mark Friedberg, editor James Lyons, costume designer Sandy Powell, and music composer Elmer Bernstein the importance of the party scene in which Frank gets drunk as it leads to a breakdown between him and Cathy. Haynes, the actors, and crew members each discuss their approach to the scene while using the films of Douglas Sirk and the period of the 1950s as a guideline. It’s definitely a marvelous special that breaks down how a scene is created.

The 11-minute making-of featurette is a piece where Haynes, the main cast, and Elmer Bernstein talk about the film. Featuring clips of films by Douglas Sirk, notably All That Heaven Allows, Haynes talks about wanting to recreate the world of Sirk but with a contemporary feel of sorts. Even as the actors like Dennis Quaid revealed that it was challenging because it was a different style of acting. Haynes reveals that the biggest highlight of making the film is working with Elmer Bernstein as Bernstein revealed that the score for this film is one of his favorites. The five-minute Q&A session with Todd Haynes and Julianne Moore has the two talking about their collaboration while Moore talks about her process to the performance. Even as she reveals that she doesn’t like to rehearse and find the character through the acting.

Other minor special features on the DVD include the film’s theatrical trailer, recommendations from Focus Features on films like Francois Ozon’s 8 Women and Neil LaBute’s Possession, cast and director info, and production notes about the film and Haynes’ desire to bring back the 1950s melodrama films of Douglas Sirk. The overall DVD is truly marvelous as it features special features fans of Haynes would love.

Far from Heaven is a gorgeous yet heartbreaking masterpiece from Todd Haynes featuring a superb performance from Julianne Moore. Featuring phenomenal supporting work from Dennis Quaid, Dennis Haybert, Viola Davis, and Patricia Clarkson. It’s a film that will allow audiences to soak into the lush, melodramatic work that Haynes has created while paying tribute to the late Douglas Sirk. While it’s Haynes’ most accessible work to date, it is definitely a film that is definitely romantic with characters that audiences can root for. In the end, Far from Heaven is a magnificent triumph from Todd Haynes.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Safe - Velvet Goldmine - I'm Not There - Mildred Pierce (TV miniseries) - Carol - Wonderstruck - Dark Waters (2019 film) - The Velvet Underground - The Auteurs #3: Todd Haynes

© thevoid99 2011