Dear White People

Written and directed by Justin Simien, Dear White People is the story of a group of African-American Ivy League college students who deal with escalating racial tension in their school. The film is a dramatic satire that explores the world of racism from the perspective of African-Americans who deal with stereotypes and what is expected from them as a race. Starring Tyler James Williams, Tessa Thompson, Kyle Gallner, Teyonah Parris, Brandon Bell, Malcolm Barrett, and Dennis Haysbert. Dear White People is a provocative yet witty film from Justin Simien.

Set in the fictional Winchester University, the film revolves the life of students at this Ivy League college where a young woman runs a radio show that criticizes racism and related issues at the school as she gets into some trouble following an election that she won to rule one of its houses. It’s a film that depicts the life of various individuals at this prestigious school led by Sam White (Tessa Thompson) who runs a radio program called Dear White People and has published a book. Others include a former boyfriend in Troy (Brandon Bell) who is the dean’s son as he is given opportunities many could dream but feels conflicted as he wants to write jokes while a young woman named Coco (Teyonah Parris) is using her video blog in the hopes to become a TV star. Another student who gets lost in the shuffle in his attempts to find a role is Lionel Higgins (Tyler James Williams) who is a journalist major that is asked to write a story about the racial tension.

The film’s screenplay does revolve into a party that would set things off yet much of the narrative revolves around these events before this infamous party and the brewing tension that emerges. Notably as writer/director Justin Simien also create some contradictions where Sam is someone that is appalled by some of the actions of white people at the school and their claims that they’re not racist yet she is sleeping with a white TA named Gabe (Justin Dobies). Troy is dating the school president’s daughter who is white as she has a brother named Kurt (Kyle Gallner) who runs a fraternity house and a school paper as he is also racist though he denies it. The first act is about Sam winning the election and the trouble it has where some like Coco and Kurt rebel the ruling with the former having issue with Sam who feels is taking up all of the attention from a TV producer that she is trying to hook up with. The second act plays into the brewing tension as well as Troy’s attempt to be part of Kurt’s club as well as Coco getting Kurt ideas for the annual Halloween party.

The third act doesn’t just play into the party but moments where characters ponder where they’re going as well as question themselves as African-Americans with even Sam questioning herself in her activism. Especially as she confronts the school’s dean (Dennis Haysbert) about this upcoming party that Kurt is holding where it plays into the idea of racism. Yet, there are some personal elements that Sam faces which would only add more questions about herself as well as an encounter between Troy and Lionel at another party where it becomes clear that the two are the same despite their social differences.

Simien’s direction is quite simple in terms of the compositions he creates as well as the setting. Yet, it has an edge to it in terms of how it confronts the idea of racism not just from an African-American perspective but also the perspective of other races. Notably as Simien plays into the stereotypes of what African-Americans like and such which includes a scene where Sam and her friends go to a movie theater asking them what is playing aside from films from Tyler Perry, films that feature blatant African-American stereotypes, and films starring rappers. It also play into what African-Americans don’t want to be but they often fall into certain tropes that is expected of them. Simien’s usage of close-ups and medium shots add to the drama as well as some of the humor. Even in some wide shots which is evident in the third act where Troy learns he has to share a room with Lionel who had been shifted from one home to another.

It adds to these dramatic textures where it breaks down the stereotypes while adding some humor as it relates to a lone Asian who is part of the group of African-American activists. While much of the film is shot on location in Minnesota, Simien does make it feel like it is shot in any kind of school which definitely plays into a world where white culture is dominant. The film’s climatic party is the tipping point of what is happening where it questions not just racism but also why this particular theme for the party. Yet, there are those who don’t see things just as it is but are unaware of the consequences of these events as the final credits reveal some of the dark realities of what goes on in the world of college campuses. Overall, Simien creates a very compelling yet humorous film about life at an Ivy League school from the perspective of African-Americans.

Cinematographer Topher Osborn does excellent work with the film‘s cinematography from the low-key yet dark look of some of the daytime interior/exterior scenes as well as some lighting for scenes at night including the party. Editor Phillip J. Bartel does nice work with the editing as it‘s mostly straightforward with some rhythmic cuts to play into the humor and drama. Production designer Bruton Jones, with set decorator Melissa Pritchett and art director Cheri Anderson, does brilliant work with the set design from the school halls, the fraternity houses, and some of the exterior settings where the students frequent.

Costume designer Toye Adedipe does terrific work with the costumes as it range from casual with most of the students to the more stylish look of Sam. Sound designer Glenn T. Morgan does superb work with the sound to play into the atmosphere of the school halls and dining rooms as well as some of the parties that go on at the campus. The film’s music by Kathryn Bostic is wonderful for its mixture of hip-hop and ambient music to play into the world of college while music supervisor Paul Stewart brings in a mix of hip-hop, electronic music, and some classical music to play into some of the humor and drama that occurs in the film.

The casting by Kim Coleman is fantastic as it features some notable small roles from Brandon Alter as one of the school’s newspaper editors in George, Kate Gaulke as George’s aide Annie, Justin Dobies as Sam’s white lover Gabe, Naomi Ko as the Asian activist Sungmi, Brittany Curran as Troy’s white girlfriend Sofia who is wondering what he’s doing in the bathroom, and Peter Syvertsen as the school president who is also the father of Sofia and Kurt. Marque Richardson is terrific as Sam’s fellow activist friend Reggie who has feelings for Sam and is willing to help her. Malcolm Barrett is excellent as Helmut West as a reality TV producer whom Coco is trying to impress as he ponders about making a TV show about the school. Dennis Haysbert is superb as the dean who is also Troy’s father as he deals with the chaos that is happening in the school as well as trying to get his son on the right path.

Kyle Gallner is brilliant as Kurt as the president’s son who runs a fraternity and a publication as he tries to create the ultimate party while making Troy feel uncomfortable and antagonizing Sam. Brandon Bell is amazing as Troy as the dean’s son who was once a campus leader as he copes with the many expectations around him as well as the conflicts to conform as he hides a secret that could threaten his future. Teyonah Parris is wonderful as Coco as a young woman who dislikes Sam’s activism about what it means to be black as she tries to define herself where she gives Kurt an idea that she would later regret. Tyler James Williams is remarkable as Lionel as a gay journalist student who finds himself out of step with everyone as he’s constantly harassed by Kurt and wondering what he should do as a journalist. Finally, there’s Tessa Thompson in an incredible performance as Sam as this young film student who speaks out against everything around her as she later becomes conflicted when things become personal as it’s a very fiery and riveting performance.

Dear White People is a phenomenal film from Justin Simien. With a great cast and themes that manage to be very provoking as well as raise a lot of questions. It’s a film that is very engaging but also has some humor that isn’t afraid to showcase the world of racism and identity. In the end, Dear White People is a sensational film from Justin Simien.

© thevoid99 2016

Major League

Written and directed by David S. Ward, Major League is the story of a showgirl who has inherited ownership of the Cleveland Indians as she decides to get the worst players in the team in the hopes they finish dead last and move the team to Miami. Once the players full of aging veterans and young upstarts start to show signs of winning, they also learn what their owner is trying to do where they hope to go all the way. It’s a film that doesn’t just explore the world of baseball where players and coaches deal with an entire season where the world is totally against them. They also try to overcome the adversity they were tagged with. Starring Tom Berenger, Charlie Sheen, Corbin Bernsen, Wesley Snipes, Dennis Haysbert, Chelcie Ross, Rene Russo, Margaret Whitton, Bob Uecker, and James Gammon. Major League is a witty and entertaining film from David S. Ward.

In the world of Major League Baseball, fans always have teams to root for no matter how bad they are yet this is a film set in Cleveland where its team in the Indians have often struggled to get a pennant win as they hadn’t won a pennant since 1948 at the time the film was released in 1989. The film revolves around the scheme of a new owner who wants to ensure that attendance records drop so big that she can move the team to Miami where she would get a luxurious deal. Upon hiring a minor league manager to manage the team and gather a group of player filled with has-been veterans and rookies with very little potential to succeed. Rachel Phelps (Margaret Whitton) hopes her scheme would succeed yet manager Lou Brown (James Gammon) and his team led by veteran catcher Jake Taylor (Tom Berenger) had other plans instead. It’s a film that showcase a group of individuals who all have something different to offer yet manage to show signs they want to be good.

David S. Ward’s screenplay is filled with a lot of humor that includes some profane language in the dialogue that adds spice to the humor. Most notably in the group of misfit characters in the film as Taylor is an aging catcher with bad knees who hopes to get one more good season as well as win back the heart of ex-girlfriend Lynn (Rene Russo). Other characters include the aging pitcher Eddie Harris (Chelcie Ross) who uses all sorts of tricks to pitch good as well as veteran shortstop Roger Dorn (Corbin Bernsen) who is a prima donna that is more concerned with securing a financial future than playing. Then there’s the small group of rookies that the franchise gain as it includes a young pitcher named Ricky Vaughn (Charlie Sheen) who has great arm but lack of control. A power-hitter in the Cuban immigrant Pedro Cerrano (Dennis Haysbert) who practices voodoo in the hopes he can hit curve balls. The final rookie is Willie Mays Hayes (Wesley Snipes) who is a great runner but wasn’t originally invited to try out.

While there is some tension between some of the players such as Cerrano and Harris over religion and Vaughn and Dorn over image as they’re forced to work together to deal with Phelps. While the team does get support in their general manager Charlie Donovan (Charles Cyphers), Phelps’ lack of support by having them ride in bad buses and airplanes only makes the team succeed despite the odds. One aspect of the film that adds to the humor is the commentary by the team’s broadcaster Harry Doyle (Bob Uecker) who always says some funny things while sharing the team’s frustrations as he would say things like “that’s we all we have. One goddamn hit!” His colleague Monty (Skip Griparis) would close the microphone telling “you can’t say ’goddamn’ on the air” where Doyle replies, “don’t worry. Nobody’s listening”. It’s part of the film’s genius as it’s not afraid to be crass while it has a human element that makes the characters very engaging.

Ward’s direction is quite simple as he doesn’t go for any big scenes other than the actual baseball playing scenes while balancing it with drama and humor. Ward’s approach with the latter definitely has a liveliness where it’s not afraid to be confrontational but also in moments where it has a lot of jokes that evolves in the course of the film. Among the gags involve blue-collar workers commenting on the team as well as Japanese field team having their own comments on the team. Ward’s compositions are quite rich in its presentation while some of the film is shot in Milwaukee for some scenes in the film. Still, he is able to make it look like Cleveland where he emphasizes more on its blue-collar locals who are eager to see the Indians go all the way. Even as it climaxes with the big game as it has some funny moments as well as moments to cheer for. Overall, Ward creates a very enjoyable and heartfelt film about a team defying the odds.

Cinematographer Reynaldo Villalobos does excellent work with the film‘s cinematography from the look of the stadium the team plays as well as many of its exterior and interior lighting schemes for some of the scenes at night. Editor Dennis M. Hill does amazing work in creating some stylish montages as well as rhythmic cuts for some of the film‘s humorous moments. Production designer Jeffrey Howard, with set decorator Celeste Lee and art director John Krenz Reinhart Jr., does superb work with the look of the Cleveland Indians stadium and its beat-up buses and planes as well as some of the bars they go to.

Costume designer Erica Edell Phillips does terrific work with the design of the costumes as well as the clothes some of the characters wear to reflect on their personalities. Sound editor J. Paul Huntsman does nice work with the sound in the way the crowd sounds during the games to some of the sounds of the bats hitting the ball. The film’s music by James Newton Howard is fantastic for its swirling electronic score for some of the themes when the Indians start to win as the soundtrack includes songs by Bill Medley, Randy Newman, Lyle Lovett, and X doing a cover of the Troggs’ Wild Thing.

The casting by Joanne Zaluski is brilliant for the ensemble that is created as it includes some notable small roles from Skip Griparis as Harry’s broadcast colleague and Peter Vuckovich as New York Yankees hitter Clu Haywood who always give the Indians problems. Charles Cyphers is terrific as the team’s general manager Charlie Donovan who would eventually tell Brown what Phelps is up to while James Gammon is great as the no-nonsense manager Lou Brown who always speaks the truth and says some funny shit along the way. Bob Uecker is hilarious as Harry Doyle as the team broadcaster who commentates everything that happens while often saying funny things to express his frustrations. Chelcie Ross is wonderful as the aging pitcher Eddie Harris who admits to using all sorts of things to throw good pitches while eventually learns what happens when one steals Jobu’s rum. Margaret Whitton is excellent as the team owner Margaret Phelps who despises the team as she tries to make their life a living hell.

Dennis Haysbert is superb as the voodoo-practicing power-hitter Pedro Cerrano who has this intimidating presence while Wesley Snipes is amazing as the brash but naïve Willie Mays Hayes as a guy that wants to be a star as he eventually becomes one through stealing bases. Rene Russo is fantastic as Taylor’s ex-girlfriend Lynn who is unsure if she wants to get back with him as she has a new life of her own yet becomes impressed when he does take the effort to read some books she had been recommending him. Corbin Bernsen is incredible as the prima donna player Roger Dorn who tries to make himself more valuable only to realize that he’s treated like garbage by Phelps. Charlie Sheen is phenomenal as Ricky “Wild Thing” Vaughn as a young pitcher with a great arm who eventually learns some control to become a top pitcher. Finally, there’s Tom Berenger in a marvelous performance as Jake Taylor as a veteran catcher who leads the team while trying to have one more great season and win back his ex-girlfriend.

Major League is a tremendous film from David S. Ward. Armed with a great cast, moments to cheer for, and some very funny one-liners. It is a film that showcases the love for baseball and why it means so much to people. Especially as it showcases the players as guys just trying to win a game and deal with all sorts of shit. In the end, Major League is an outstanding film from David S. Ward.

David S. Ward Films: (Cannery Row) - (King Ralph) - (The Program) - (Major League II) - (Down Periscope)

Related: (Major League: Back to the Minors)

© thevoid99 2014

Wreck-It Ralph

Directed by Rich Moore and screenplay by Phil Johnston and Jennifer Lee from a story by Moore, Johnston, and Jim Reardon with additional contributions by John C. Reilly, Sam J. Levine, and Jared Stern, Wreck-It Ralph is the story of a titular video game bad guy character who decides he doesn’t want to be the bad guy anymore by leaving his game in the hopes he can get a medal and earn the respect of the other characters from his game. The film explores the world of the arcade video games from the early 80s 8-bit games to the games of the 21st Century where a bad guy becomes the hero as he finds himself in different games and befriending a character who is considered a glitch. Featuring the voices of John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, Alan Tudyk, Mindy Kaling, Joe Lo Truglio, Dennis Haysbert, and Ed O’Neill. Wreck-It Ralph is a sensational and astonishing film from Rich Moore.

The film is about the titular bad guy (John C. Reilly) whose job in the video game Fix-It-Felix Jr. as all he does is wreck a building while the game’s titular character (Jack McBrayer) fixes it. Ralph does the job for 30 years but feels unappreciated as he decides he doesn’t want to be the bad guy anymore and earn a medal in the hopes he can get respected. When Felix learns that Ralph went to a shooting game called Hero’s Duty to get a medal, he tries to stop him but other circumstances lands Ralph in the candy-based racing game Sugar Rush where he meets and help a young girl named Vanellope (Sarah Silverman) to be in the race despite the fact that she’s a glitch. Yet, there’s something that Ralph had brought that would threaten not just the game but also all of the games in the arcade as he and Felix have to stop it.

The film’s screenplay does have this traditional structure where the first act is about Ralph leaving Fix-It-Felix Jr. after feeling unappreciated by other characters in the game as he meets a character from Hero’s Duty where he learns about getting a medal until an encounter with a cy-bug causes trouble. When Ralph finds himself at Sugar Rush, he meets Vanellope who is this character that is a glitch as he is annoyed by her at first yet decides to help her so he can get his medal and she can become a character in the game. Still, Ralph and Vanellope have to deal with the character King Candy (Alan Tudyk) who believes that if Vanellope becomes part of the game. She will ruin it because she is a glitch and the game will be unplugged leaving all of the characters homeless like another legendary game character in Q*bert and his fellow villains.

The script succeeds in giving characters motivations and such to drive the story where Felix teams with Hero’s Duty character Sgt. Calhoun (Jane Lynch) to find Ralph as well as cy-bug that had entered Sugar Rush as it’s a creature that becomes whatever it eats and create chaos until someone lights a beacon to get rid of them. Felix falls for Sgt. Calhoun as he also tells her about a character named Turbo who was this popular racing game character who got jealous when a new racing game emerged where he hacked into the game and put that and his own game out of commission which adds to Felix’s motivation to get Ralph back in their game or they will be unplugged.

Rich Moore’s direction is dazzling not just in the way he presents the world of the arcade games but also for the fact that it’s set in an arcade where many characters meet at the plugging board to interact and be at other games after closing time at the arcade. Even the games themselves are set in a world that is unique where characters are seen drinking at Tapper’s where on the screen, some of the game characters are shown in high-definition or in 8-bit animated style. With the help of supervising animator Doug Bennett, Moore’s direction has these very broad and sprawling images where the animation also helps out in the look of the characters as Tapper and most of the minor characters in Fix-It-Felix Jr. all have this jerky look to their movements since they’re programmed in an 8-bit animated style.

The animation also features a lot of video game references where there’s numerous cameos from many great characters in the film such as an early scene where Ralph attends a video-game bad guys anonymous meeting with villains from Pac Man, Street Fighter, Super Mario Bros., and Sonic the Hedgehog as well as many others. It adds to this very unique world that is very appealing to audiences that grew up playing video games as well as the evolution of video games from 8-bit to high-definition animation. Overall, Moore creates a truly exhilarating and imaginative film about a bad guy’s desire to be good and do good in the world of video games.

Editor Tim Mertens does brilliant work with the editing with its use of stylish rhythmic cuts as well as play into the energy of the action and humor that occurs in the film. Art director Ian Gooding does amazing work with the look of video game world from the sugary-confection of Sugar Rush to the dark world of Hero‘s Duty. Sound designer Gary Rydstrom and sound editors Frank E. Eulner and Marshall Winn do fantastic work with the sound with the way some characters move to the sound effects that is used in the games that the characters go to. The film’s music by Henry Jackman is superb for its mixture of orchestral-based music to play into the action along with some electronic and 8-bit music to help create that world of the video games while the soundtrack features contributions from Rhianna, Skrillex (who makes a cameo in the film), Owl City, Kool & the Gang, AKB48, and the video game novelty duo Buckner and Garcia doing the film’s theme song.

The voice casting by Jamie Sparer Roberts is incredible for the voice ensemble that was used as it features some notable voice work from Edie McClurg, Rachael Harris, and Raymond Persi as characters from Fix-It-Felix Jr. with Persi also voicing a zombie at the Bad-Anon meeting. Other noteworthy small voice roles include contributions from director Rich Moore as King Candy’s assistant Sour Bill/Zangief from Street Fighter, Horatio Sanz and Adam Carolla as the Sugar Rush police officers, Joe Lo Truglio as the drunk Hero’s Duty soldier Ralph meets at Tapper’s, Dennis Haysbert as the general at Hero’s Duty, Mindy Kaling as the Sugar Rush racer Taffy Muttonfudge, and Ed O’ Neill as the arcade owner Mr. Litwak whose character is sort of based on the Twin Galaxies arcade founder Walter Day.

Alan Tudyk is excellent as the Sugar Rush ruler King Candy who tries to get rid of Vanellope in the hopes that she doesn’t ruin the game while there’s an added layer to the character that makes him far more intriguing. Jane Lynch is fantastic as Sgt. Calhoun as a no-nonsense bug killer who helps Felix find Ralph and the cy-bug that entered Sugar Rush as she is baffled by Felix’s attraction towards her. Jack McBrayer is brilliant as Fix-It-Felix Jr. as a game hero who fixes everything with his magical hammer as he tries to find Ralph and get him back or else he and the other characters in the game become homeless.

Sarah Silverman is amazing as Vanellope Von Schweetz as this glitchy character who just wants to be in the race as she befriends Ralph where Silverman adds an energy to the character. Finally, there’s John C. Reilly in a remarkable performance as the film’s titular character where he brings that sense of humility and determination to his character making it one of Reilly’s best performance that is crucial to making Ralph a very unforgettable character.

Wreck-It Ralph is a phenomenal film from Rich Moore and Disney Animation. Featuring some dazzling visuals, a superb music soundtrack, and a brilliant voice cast, the film manages to do more than just be a kid’s film as it appeals to gamers as well. Largely as it features the world of the arcade as well as the different kinds of video games that has endured for more than 30 years. In the end, Wreck-It Ralph is a spectacular film from Rich Moore.

© thevoid99 2013

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

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