Dark Waters

 

Based on the New York Times Magazine article The Lawyer Who Became DuPont’s Nightmare by Nathaniel Rich, Dark Waters is about an attorney’s battle against the chemical manufacturing company DuPont over their water contamination in a small town. Directed by Todd Haynes and screenplay by Mario Correa and Matthew Michael Carnahan, the film is about the real-life battle between Robert Bilott and the DuPont Corporation in the mid-2000s over water contamination in a small Ohio town as Mark Ruffalo plays Bilott. Also starring Anne Hathaway, Tim Robbins, Bill Camp, Victor Garber, Mare Winningham, William Jackson Harper, and Bill Pullman. Dark Waters is a chilling and mesmerizing film from Todd Haynes.

Set largely from 1998 to 2015, the film is about the real-life battle between corporate defense attorney Robert Bilott and the chemical manufacturing company DuPont over water contamination in the small town of Parkersburg, West Virginia as the former’s grandmother lived there where she told a farmer to call Bilott over the deaths of his cows. It is a film that explore this man who is asked by his grandmother to help this farmer who is needing help as he had lost a lot of cows while showing evidence of deformed body parts. The film’s screenplay by Mario Correa and Matthew Michael Carnahan is largely straightforward yet it follows a long period that play into legal battles and how Bilott kept fighting despite the strain it puts into his family life, his health, and issues involving the firm he works for as it’s a firm known for defending corporations. While the film briefly opens with a few people skinny-dipping onto a lake in 1975 where they’re forced to leave by a couple of men wearing jumpsuits as they spray something in the water. It sets the tone of what Bilott would discover as well as many revelations about what kind of chemicals DuPont has creates where Bilott at first is just doing his grandmother a favor even though his firm works for DuPont.

When the farmer Wilbur Tennant (Bill Camp) reveal some of the locations as Bilott gets a closer look into the graveyard that Tennant had created for his dead cows as well as witnessing a cow being killed after acting crazy. Despite the lack of support he gets from the Taft Stettinius & Hollister law firm over his case, they do get eventually on board when the firm’s supervising partner Tom Terp (Tim Robbins) realizes what is at stake as well as the chemicals that DuPont had created known as perfluorooctanoic acid, that is used for Teflon non-sticking frying pans and carpet flooring, as the source that’s been contaminating not just the water at a nearby landfill in Parkersburg but at the town’s water where many of its locals are ill. Though the years of litigation, independent testing, and such would be long and arduous as well as reveal so much where Bilott realizes that he must fight despite the fact that it takes away a lot of his time from his family that includes his wife Sarah (Anne Hathaway).

Todd Haynes’ direction definitely has elements of style in his overall presentation but he also knows when to keep things straightforward. Shot on location in Cincinnati, Ohio as well as locations nearby including parts of areas in Ohio as Parkersburg, West Virginia, Haynes makes these locations central to the film as the small town of Parkersburg with several locals including the real Robert and Sarah Bilott as well as other characters do appear in the film in cameos. There are wide shots in some of the locations including shots of the DuPont chemical plant and the buildings in Cincinnati including the one where Bilott worked at. Still, much of Haynes’ direction emphasizes on intimacy in the close-ups and medium shots while also employing some unique dolly and tracking shots for some scenes to play into the atmosphere of a location whether it’s a local church in Parkersburg or a building hallway. Haynes’ direction also play into the dramatic suspense but also this feeling of a moment in time as it mainly from the late 90s to the 2010s as the Bilott home would often change that also feature a humorous bit where one of the sons isn’t happy about having to go to hardwood floors instead of carpet.

Still, Haynes maintains this sense of drama including moments where people representing DuPont want to target Bilott as well as locals from Parkersburg who feel that Bilott is disrupting their livelihood since they depend on DuPont for employment where they take it out on Tennant and another local in Darlene Kiger (Mare Winningham). While the third act does feel overwritten and at times does drag which Haynes definitely aimed for as it play into how long litigation gets where cases take years to do including data research. It does play into the struggles that Bilott went through but also revelations about his own worth and the sacrifices he made despite all of the strain he put on himself and his family all because he became concerned about a farmer. Overall, Haynes crafts an evocative yet haunting film about a corporate defense lawyer who fights for a farmer against a gigantic chemical manufacturing company.

Cinematographer Edward Lachman does brilliant work with the film’s cinematography with its usage of blueish colors for some of the daytime exteriors as well as the emphasis on sepia-like lighting for some of the interior scenes at night. Editor Affonso Goncalves does excellent work with the editing as it features some jump-cuts, dissolves, and a montage where Bilott explains to his wife in his discovery. Production designer Hannah Beachler, with set decorator Helen Britten and art director Jesse Rosenthal, does amazing work with the evolving look in the interior of the Bilott family home as well as the Tennant farm in its exteriors to play into its decayed look. Costume designer Christopher Peterson does fantastic work with the clothes that play into the evolving style that Sarah would wear throughout the film with everything else from the suits that Bilott wears to the regular and casual clothing of the people at Parkersburg.

Prosthetic makeup effects designer Michael Marino does nice work in some of the film’s minimal effects involving not just the look of a few characters but also in the mutated animal internal organs that Tennant showed Bilott. Special effects supervisor Bob Riggs and visual effects supervisor Ed Chapman do terrific work with some of the film’s visual effects which is mainly bits of set-dressing but also in the video footage that Tennant had filmed in his farm. Sound designer Leslie Shatz does superb work with the sound as it help play into the way characters in locations sound including a few court rooms as well as some of the video that Bilott watched that Tennant film. The film’s music by Marcelo Zarvos is wonderful for its ambient-based score that play into the drama but also the sense of dread that emerges in the film while music supervisor Randall Poster creates a soundtrack that largely feature country music from acts like Willie Nelson, John Denver, Waylon Jennings, Reba McIntyre, and Deana Carter as well as music from Kenny Loggins, Stan Getz, and John Milton Barrett.

The casting by Laura Rosenthal is great as it feature some notable small rules and appearances including real-life people were involved in the case such as Rob and Sarah Bilott as a couple at a posh party, the deformed Bucky Bailey as a man asking Rob for sports scores, Jim Tennant as a diner patron, Darlene and Joe Kiger as church attendees, Elizabeth Marvel as the voice of a doctor talking to Bilott late in the film, the trio of Aidan Brogan, Nathan Slaughter, and Graham Caldwell in their respective roles as the eldest to youngest version of Teddy Bilott, Beau Hartwig and Jacob Bukowski in their respective roles as the oldest and youngest version of Tony Bilott, Keating P. Sharp as the 11-12 year old version of Charlie Bilott, Louisa Krause as the attorney Clara Pfeiffer who is one of the few that supports Bilott in his case, William Jackson Harper as a colleague of Bilott who is baffled by Bilott working on the case, Kevin Crowley as a local West Virginian attorney in Larry Winter who helps Bilott, Denise Dal Vera as Tennant’s wife Sandra, Richard Hagerman as Joe Kiger, Jim Azelvandre as Jim Tennant, and Bill Pullman in a superb performance as Harry Dietzler as an attorney who helps Bilott in the cases as he raises many questions about DuPont.

Mare Winningham is fantastic as Darlene Kiger as a woman who lives in Parkersburg who turns to Bilott over something she received as she realizes something isn’t right while also knowing that the town will go against her in her fight against DuPont. Victor Garber is excellent as an attorney for DuPont who at first helps Bilott out only to become confrontational and denying everything Bilott is asking for. Tim Robbins is brilliant as Tom Terp as a managing partner of the Taft Stettinius & Hollister law firm who isn’t supportive of Bilott in this case until he realizes the severity of Bilott’s discoveries as he realizes that they must sue DuPont or else they would look even worse by supporting them. Bill Camp is amazing as Wilbur Tennant as a farmer whose cows had died due to the poisoned water from a nearby landfill as a man who just wants justice despite the fact that he would be ill from the water in his land.

Anne Hathaway is incredible as Sarah Bilott as a housewife/former lawyer who is concerned about her husband’s work as well as what he discovered where she tries to deal with all of it but also defend him when people are going after him as it is Hathaway at her strongest and most stern. Finally, there’s Mark Ruffalo in a tremendous performance as Robert Bilott as a corporate defense attorney for the Taft Stettinius & Hollister law firm who is asked by his grandmother to help this farmer only to realize a lot of things went wrong where Ruffalo plays into this man’s own desperation to do what is right even if it brings a strain to his family as it is an engaging and somber performance from Ruffalo.

Dark Waters is an incredible film from Todd Haynes that features great performances from Mark Ruffalo, Anne Hathaway, and Bill Camp. Along with its supporting cast, gorgeous visuals, a chilling music score, and its exploration over a real-life legal war against a giant corporation and the chemicals they created. It is a film that is a haunting drama that explore a man whose job is to protect corporations only to fight against a corporation that has harmed not just a small town but everyone forcing this man to fight for the good of the world. In the end, Dark Waters is a marvelous film from Todd Haynes.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Safe - Velvet Goldmine - Far from Heaven - I'm Not There - Mildred Pierce (2011 TV Miniseries) - Carol - Wonderstruck - The Velvet Underground – The Auteurs #3: Todd Haynes

© thevoid99 2022

Philomena

Based on the book The Lost Child of Philomena Lee by Martin Sixsmith, Philomena is the story about Sixsmith’s friendship with Philomena Lee as he helps find the son that she was forced to give up 50 years ago. Directed by Stephen Frears and screenplay by Steve Coogan and Jeff Pope, the film is a dramatization about a journalist trying to help a woman find where her son is as well as learning about her life story as Coogan plays Sixsmith with Judi Dench as the titular character. Also starring Mare Winningham, Sophie Kennedy Clark, Michelle Fairley, and Barbara Jefford. Philomena is an extraordinary film from Stephen Frears.

The film is a simple story about Martin Sixsmith who decides to help Philomena Lee find her son whom she was forced to give up her son 50 years ago during her time at a convent for getting pregnant as a teenager. While it is a simple story, it is one that is still very interesting where Sixsmith is trying to figure out what to do after losing his job as a government advisor to Tony Blair where he meets Philomena’s daughter Jane (Anna Maxwell Martin) at a party who had just learned what her mother told her. After convincing Sixsmith to take the story so he can do something as a former journalist where he and Philomena travel through Ireland and the U.S. to find out about her son Anthony (Sean Mahon).

The screenplay by Steve Coogan and Jeff Pope does have some unique moments in the narrative along with some very witty dialogue to play into the interaction between Philomena and Sixsmith. Especially as the former is still a Catholic who prays every day while the latter is a former Catholic who has become quite cynical about the idea of religion. Though Sixsmith tries to be patient with Philomena who becomes fascinated by America, he is willing to help her in the search where it would lead to some very big revelations about Anthony. The script also has flashbacks about Philomena’s life as a young woman (Sophie Kennedy Clark) in how she conceived Anthony and the life she had living in the convent where she endured a lot of cruelty. Especially in the third act where she returns to Ireland to meet one of the surviving nuns in Sister Hildegarde (Barbara Jefford) who had put her through some of the worst years of her life.

The direction of Stephen Frears is quite straightforward in the way he presents the drama where he infuses some light-hearted humor that involves a scene in the airport where Philomena tells Sixsmith about a book she just read. Much of the compositions are simple and to the point for the scenes set in London, Ireland, and Washington D.C. Still, Frears does manage to convey some engaging moments like some of the close-ups for some of the film’s dramatic moments where the sense of guilt and loss that Philomena has suffered is shown in her face. Even where the drama can bet heavy but Frears finds a way to not delve into melodrama where he would find a balance between humor and drama. Especially in its climax where it plays into the idea of faith where even through the most terrible circumstances, there is a way to move and find forgiveness. Overall, Frears creates a very compelling film about a woman’s search to find the song she was forced to abandon many years ago.

Cinematographer Robbie Ryan does excellent work with the film‘s cinematography with the look of London and Ireland in its low-key colors including some scenes set in the winter to the more light-colored look of the scenes set in Washington D.C. and other places in the U.S.. Editor Valerio Bonelli does fantastic work with the editing where it‘s pretty straightforward with the exception of some flashback montages and such to play into the drama. Production designer Alan MacDonald, with set decorator Barbara Herman-Skelding and supervising art director Rod McLean, does terrific work with the set pieces from the hotel rooms in Washington that Sixsmith and Philomena stayed in to the convent where the young Philomena stayed.

Costume designer Consolata Boyle does nice work with the costumes as it is mostly low-key and casual with the exception of the flashback scenes in the 1950s. Visual effects supervisor Adam Gascoyne does some fine work with some of the minimal visual effects such as the backdrops for a few scenes in the U.S. Sound editor Oliver Tarney does superb work with the sound for some of the atmosphere in the locations as well as the intimate moments at the convent. The film’s music by Alexandre Desplat is brilliant for its flourishing orchestral score filled with chiming riffs and melodies as it is another of his triumphant pieces.

The casting by Leo Davis and Lissy Holm is amazing for the ensemble that was created as it features some notable small performances from Simone Lahbib as Sixsmith’s wife Kate, Cathy Belton as the convent’s new manager Sister Claire, Wummi Mosaku as the young nun in the modern scenes, Charlie Murphy as the young Philomena’s friend Kathleen who also lost a child to adoption, Sean Mahon as Philomena’s son Anthony, and Peter Herrmann as a friend of Anthony who gives Philomena some vital information. Mare Winningham is wonderful as Anthony’s adopted sister Mary who reveals some tidbits about Anthony while Michelle Fairey is terrific as Sixsmith’s editor who pushes him to get a juicier story. Anna Maxwell Martin is excellent as Philomena’s daughter Jane who would be the person to introduce her mother to Sixsmith as she helps out early on.

Barbara Jefford is great as Sister Hildegarde as this old-school nun who would be very cruel to the young Philomena while she maintains a low-key presence in the scenes set in the early 2000s. Sophie Kennedy Clark is superb as the young Philomena as this young woman who has committed a sin as she tries to redeem herself only to watch her child be taken away from her. Steve Coogan is fantastic as Martin Sixsmith as Coogan brings a more low-key approach to his humor as this cynical and bitter journalist who is just trying to get himself back on track while dealing with this old woman and the story that she’s lived through. Judi Dench is just remarkable as the titular role as she has this very lively woman who is so full of charm only to balance that with a sense of guilt where Dench shows restraint in her dramatic approach as she is a major highlight for the film while having some fun chemistry with Steve Coogan.

Philomena is a marvelous film from Stephen Frears that features incredible performances from Judi Dench and Steve Coogan. The film is truly an engaging story that features a woman trying to find the son she was forced to abandon as well as explore into some of the cruelty of the Catholic church without being too critical. Even as Frears manages to infuse some witty humor courtesy of Coogan and co-screenwriter Jeff Pope. In the end, Philomena is a rich and enchanting film from Stephen Frears.

Stephen Frears Films: (Gumshoe) - (Afternoon Off) - (Bloody Kids) - (Walter) - (Walter and June) - (December Flower) - (The Hit (1984 film)) - (My Beautiful Launderette) - (Prick Up Your Ears) - (Mr. Jolly Lives Next Door) - (Sammie and Rose Get Laid) - (The Grifters) - (Hero (1992 film)) - (The Snapper) - (Mary Reilly) - (The Van (1996 film)) - (The Hi-Lo Country) - (High Fidelity) - (Liam) - (Fail-Safe (2000 TV film)) - Dirty Pretty Things - (The Deal (2003 TV film)) - (Mrs. Henderson Presents) - The Queen (2006 film) - (Cheri) - (Tamara Drewe) - (Lay the Favorite) - (Muhammad Ali’s Greatest Fight)

© thevoid99 2013

Hatfields & McCoys (TV Mini-Series)

Directed by Kevin Reynolds with a teleplay by Ted Mann and Ronald Parker from a story by Mann and Bill Kerby, Hatfields & McCoys is a 3-part TV mini-series that chronicles a feud between two different families in the late 1800s in West Virginia-Kentucky. The TV miniseries explores how the feud began as it escalated for many years before it finally ended in the early 1890s as playing the head the warring families are Kevin Costner as Devil Anse Hatfield and Bill Paxton as Randolph McCoy. Also starring Tom Berenger, Mare Winningham, Jena Malone, Matt Barr, Lindsay Pulsipher, Sarah Parish, and Powers Boothe. Hatfields & McCoys is a sprawling and thrilling epic TV mini-series from Kevin Reynolds.

Part 1

After a brutal battle during the Civil War in 1863, Devil Anse Hatfield chooses to flee his regiment leaving his friend Randolph McCoy to fight on where he was eventually captured by the Union until the War’s end. Following McCoy’s release from a Union prison, he learns that his brother Harmon (Chad Hugghins) was killed two years earlier by Devil Anse’s uncle Jim Vance (Tom Berenger) who was offended by Harmon’s Union coat. With Hatfield becoming rich through a timber business, McCoy feels resentful as his cousin Perry Cline (Ronan Vibert) tries to sue Hatfield over land only to lose. In 1878, the tension between the Hatfields and McCoy come to ahead when Floyd Hatfield (Lloyd Hutchinson) had bought a pig that actually belonged to McCoy.

With Judge Valentine “Wall” Hatfield (Powers Boothe) choosing to settle the matter, things unfortunately go wrong as a war ensues when McCoy’s nephews killed a witness over his testimony in the pig case. Judge Hatfield asks both men to not get into a war as things cool down a bit for two years until Devil Anse’s son Johnse (Matt Barr) falls for Randolph’s daughter Roseanna (Lindsay Pulsipher) as they form a relationship much to the dismay of their fathers. Wanting to avoid bloodshed, Levicy Hatfield (Sarah Parish) tells Roseanna to return home to the McCoys where her mother Sally (Mare Winningham) has Roseanna live with her aunt Betty (Joy McBrinn) to avoid further trouble. Instead, Perry Cline makes a discover that would escalate the tension between the Hatfields and the McCoys as their leaders make a troubling discovery.

Part 2

After setting the issue over Johnse and Roseanna’s love affair, the fighting briefly stops until a gathering in Kentucky where a brawl between Hatfield and McCoy family members led to the death of Devil Anse’s brother. In response to the murder, Devil Anse orders the death of McCoy’s three sons furthering the war as Randall and Perry Cline decide to put a bounty on the Hatfields. Answering to that bounty is a man named “Bad” Frank Philips (Andrew Howard) who has killed Skunkhair Tom Wallace (Andy Gathergood) for the McCoys where the war escalates. Meanwhile, Johnse falls for Roseanna’s cousin Nancy (Jena Malone) as they decide to get married much to the dismay of the entire Hatfield family. When Nancy’s brother Jefferson (Jonathan Frederick) has killed someone with Jim Vance and his nephew Cap (Boyd Holbrook) going after him. Nancy fights back only to be beaten by Vance while Cap kills Jefferson.

Things get more complicated as Nancy asks Philips to kill Jim Vance personally as she also reveals a plan of her own. With the battle lines escalating and Philips taking on the command for the McCoys to capture several Hatfields to find the whereabouts of Devil Anse. Politicians from both Kentucky and West Virginia try to smooth things out as a war is about to heat between both sides.

Part 3

With the battle lines intensifying as Jim Vance, Cap, and several Hatfields decides to attack the McCoy cabin on New Year’s Day that left two McCoy children dead and Sally McCoy on the brink of insanity. The war starts to take its toll on Devil Anse Hatfield and Randall McCoy as both are troubled by the bloodshed that has grown. When Nancy decides to leave Johnse after he had accidentally revealed some information about Vance’s whereabouts, Johnse’s actions lead to dire consequences as Devil Anse makes a decision concerning Johnse. Roseanna returns to the McCoy family to take care of her mother as she starts to fall ill over all of the turmoil concerning the war. After the brutal battle that left Hatfield to retreat, both sides start to grow weary as Wall Hatfield chooses to turn himself in. With Randall descending into alcoholism and Devil Anse feeling ill, both men come to terms with everything they had dealt with in a war that’s becoming a part of American history.

The mini-series is about the origins of how the Hatfields and McCoys began their feud and how it would escalate into a war that became part of American folklore. Spanning from the mid-1860s in the Civil War to the early 1910s to establish the final outcome of the Hatfield and McCoy war. The teleplay by Ted Mann and Ronald Parker do build up a lot of momentum into how the seeds of the feud began where it was a combination of resentment from Randall McCoy’s side to the sheer hatred of Jim Vance who kills Harmon McCoy for wearing a Union coat. Things eventually escalate where it becomes a war about honor while there’s a subplot involving Devil Anse’s son Johnse who falls for Randall’s daughter Roseanna that would lead to more complications.

The script does allow characters like Devil Anse and Randall to each have an understanding about war as both men are flawed. There’s also a lot of compelling characters who are involved as the non-violent Johnse becomes this very innocent man who is in love with Randall’s daughter in hopes that the war will end. Instead, things become complicated as he ends up marrying Roseanna’s cousin Nancy that would get him into more trouble as he would unknowingly gain an understanding about how bad the war is. Then there’s the women like Sally McCoy and Levicy Hatfield are individuals who stay away from the bloodshed only to both become weary of the war while Sally almost becomes involved in the fighting that led to her descent into madness.

Then there’s Nancy McCoy who is revealed to be a devious woman with dark intentions dating back to her father’s death as she seduces Johnse for her own gain to help aid Bad Frank Philips to the dismay of Roseanna and Randall. Eventually, the war does take a toll on its leaders where Randall where both men want to seek an end to the whole thing. Yet, this is not a traditional war where it all culminate with a battle but rather sort of ends with a whimper because of the weariness and how outside forces tried to publicize the whole thing. Overall, the script is among one of the mini-series highlights although there is a few flaws in terms of the dramatization of the whole thing.

Kevin Reynolds’ direction is incredible for the way he recreates late 19th Century Mid-South America as it’s shot on location in Romania due to the fact that it has lots of trees and fields. With its vast depth-of-field shots of the locations and gorgeous compositions for many of its exterior setting, Reynolds is able to create a mini-series that is big while maintaining a wonderful intimacy for some of the mini-series’ interior scenes. Reynolds does create an air of suspense in a lot of the battle scenes as well as more simpler shots in some of the dramatic moments. While there’s a few parts of the mini-series that isn’t perfect including one scene that is obviously shot with a fake computerized-background. The overall work that Reynolds does is superb for creating a mini-series about a legendary American feud.

Cinematographer Arthur Reinhart does excellent work with the look of mini-series from the sunny exteriors including some grey shots to capture the tone of the mini-series to some entrancing interiors to help play out some of the suspense. Editor Don Cassidy does terrific work with the editing to create some amazing rhythmic cuts for some of the battle sequences along with more straightforward cuts for the dramatic sequences. Production designer Derek R. Hill, with art directors Serban Porupca and John B. Vertrees and set decorator Sally Black, does fantastic work with the set pieces such as the Hatfield farm to establish his success and McCoy‘s cabin to display the lack of success along with various sets to help create the world of the late 1890s.

Costume designer Karri Hutchinson does nice work with the costumes from the clothes and cowboy hats the men wear to the dresses that the women wear in that period. Hair designer Giorgio Gregoni and makeup artist Mario Michisanti do wonderful work with the look for some of characters such as the beards for the men and the hairstyles that women wear in those times. Sound mixers Christian T. Cooke and Brad Zoern do brilliant work with the sound to capture the chaos of the battles to some sparser moments in quieter scenes. The film’s score by John Debney and Tony Morales is amazing for its folk-driven score that is led by bombastic orchestral arrangements with folk violins and various string instruments to play up the times as it features different themes from more plaintive material for the romantic scenes to sprawling pieces for the battle scenes.

The casting by Fern Champion, Laura Grosu, and Amy Hubbard is phenomenal for the large ensemble that is assembled. In small but memorable roles, there’s Chad Hugghins as Harmon McCoy, Joy McBrinn as Roseanna’s aunt Betty, Jonathan Frederick as Nancy’s brother Jefferson, Andy Gathergood as Hatfield ally Skunkhair Tom Wallace, Lloyd Hutchinson as Floyd Hatfield, and Noel Fisher as Hatfield’s mentally-challenged nephew Cotton Top Hatfield. Sarah Parish is wonderful as the kind and knowing Levicy Hatfield who tries to Devil Anse and her boys to see reason while aware of the trouble that could happen if someone is associated with the McCoys. Powers Boothe is great as the reasonable Wall Hatfield who tries to avoid taking part of the bloodshed only to be in the middle of the war.

Matt Barr is really good as the kind-hearted Johnse Hatfield who falls for Roseanna McCoy as he tries to find a way to end the war. Boyd Holbrook is terrific as the one-eyed Cap Hatfield who helps lead the charge for the Hatfields while proving to be a great shot. Ronan Vibert is superb as the slimy McCoy family attorney Perry Cline who tries to talk his way through getting the McCoys some legal advantage while Andrew Howard is fun as the cold-blooded bounty hunter Bad Frank Philips. Lindsay Pulsipher is very good as the lovely Roseanna McCoy who falls for Johnse only to feel lost in the late stages of the war. Mare Winningham is brilliant as Sally McCoy who tries to deal with all of the chaos of the war as she later descends into madness.

Jena Malone is incredible as the ruthless Nancy McCoy who would use her seductive charm to get what she wants while there’s a more sinister side to her over her hatred towards the entire Hatfield family. Tom Berenger is great as the vicious Jim Vance who would be the person that would start the bloodshed between the Hatfields and McCoys as it’s a very dark yet fun performance from Berenger. Bill Paxton is amazing as the resentful Randall Hatfield who feels slighted over the lack of honor from Hatfield as he later descends into disillusionment and doubt over all of the chaos of the war. Finally, there’s Kevin Costner in a mesmerizing performance as Devil Anse Hatfield whose intentions to succeed has him becoming a target where he also goes into dark places as it’s a very thrilling performance from Costner as it’s the best thing he’s done since 2003’s Open Range.

Hatfields & McCoys is a remarkable TV mini-series from Kevin Reynolds that features top-notch leading performances from Kevin Costner and Bill Paxton. Along with noteworthy supporting performances from Tom Berenger, Jena Malone, and Mare Winningham, it’s a TV mini-series that is definitely engaging and entertaining while providing some insight into the legendary Hatfield-McCoy feud that is part of American folklore. In the end, Hatfields & McCoys is an extraordinary TV mini-series from Kevin Reynolds.

Kevin Reynolds Films: (Fandango) - (The Beast (1988 film)) - (Robin Hood: Prince of Thieves) - (Rapa Nui) - (Waterworld) - (One Eight Seven) - (The Count of Monte Cristo (2002 film)) - (Tristan & Isolde)

© thevoid99 2012

Mildred Pierce (2011 TV Miniseries)

Based on James M. Cain’s 1941 novel, Mildred Pierce tells the story of a middle-class housewife’s struggle to give her children a better life during the Great Depression. Though she finds works as a waitress and begins to work her way up, she also begins to deal with the ambitions of her eldest Veda as their lives turn tragic. The story would eventually become a feature film in 1945 by Michael Curtiz that starred Joan Crawford in the title role, which would win her an Oscar for Best Actress. In 2011, the melodramatic story is told once again into a new medium for a five-part TV miniseries. This time, under the helm of one of American cinema’s great talents in Todd Haynes.

Directed by Todd Haynes with a teleplay by Haynes and Jon Raymond. Haynes’ adaptation of Mildred Pierce is a re-telling of the novel by expanding on the melodrama with the realism of the 1930s. While some might consider the project to be a companion piece of sorts to his 2002 film Far from Heaven. The miniseries is a different take on the world of housewives that Haynes had previously explored in Far from Heaven and Safe. Even as he goes for a grittier yet stylistic approach to the story with Kate Winslet in the title role. Also starring Evan Rachel Wood, Guy Pearce, Mare Winningham, Melissa Leo, Brian F. O’Byrne, James LeGros, and Hope Davis. Mildred Pierce is a sprawling yet evocative drama from Todd Haynes and company.

Part 1

It’s 1931 during the Great Depression in Glendale, California when Bert Pierce (Brian F. O’Byrne) leaves his home and his wife Mildred after accusations of infidelity. With her two young daughters in the glamorous Veda (Morgan Turner) and the playful Ray (Quinn McColgan), Mildred realizes that she needs work. While her neighbor Lucy Gessler (Melissa Leo) helps out along with Bert’s business partner Wally Burgan (James LeGros). Still in 1931, as Mildred struggles to find work in any kind of field. While an employment agent helps her find work, she gets a job offer to work for a maid by a rich woman named Mrs. Forrester (Hope Davis).

Mildred turns her down as she continues to try and find work where during a lunch break, she sees an argument between waitresses as the manager (Mark Margolis) fires one of them. Realizing they’re short, Mildred volunteers for the day as she accepts the job of being a waitress. While she only tells Lucy about the job, she hopes that no including Veda would know about this.

Part 2

With help from Ida Corwin (Mare Winningham), Mildred succeeds as a waitress as she brings in some money. While things are fine at the restaurant, the only thing the customers complain about is the pie as Mildred brings in pies of her own to help boost things. Realizing that she can make money on her own with her cooking skills, she also learns the ropes of the restaurant business with Wally’s help to start a restaurant. Though Wally reveals that in order for Mildred to have her own business, she needs to divorce Bert. Bert reluctantly does so though he still gets the chance to see his daughters.

Mildred’s secret comes out when her new assistant Letty wear Mildred’s waitress dress. Mildred has a confrontation with the snobbish Veda while revealing the plans she’s having for the restaurant. On the last day of her job as a waitress, a man named Monty Beragon (Guy Pearce) arrives as he asks Mildred for a day at the beach in Santa Barbara. Mildred accepts where romance happens between Mildred and the fruit company heir. On the way home, Mildred would encounter tragedy that would change her life as well as her relationship with Veda.

Part 3

After the family tragedy Mildred faced, she decides to move forward to open her restaurant called Mildred’s. With her maid Letty (Marin Ireland) helping out for the first day, it starts off slow until it grew in that first night. With Ida and Lucy helping out, the first night becomes successful as Monty makes an appearance much to the delight of Veda. With Monty in Mildred’s life and making an indelible impression on Veda, everything seems to be going well. Even as Monty gets a chance for Veda to audition for a prestigious music teacher. Though the audition is a success, Mildred knows that she has to get a top piano for Veda so she can continue to practice.

With Prohibition on its way out and Monty having money troubles, Mildred takes Lucy’s advice to have a little bar in her restaurant. Yet, it’s not enough to deal with Monty’s financial issues while Veda’s time with Monty makes Mildred uneasy. Even as Veda is unimpressed by Mildred’s present while saying things that upset Mildred about Veda’s conversations with Monty. At a rainy night on New Year’s Eve, Mildred confronts Monty about his conversations with Veda along with the fact that she works and he doesn’t.

Part 4

With Mildred’s becoming a success as Mildred hopes to expand her business, Lucy finds a location at Laguna that would become a place where Mildred would exceed her finances. With help from Wally and Ida, Mildred’s third restaurant at the Laguna becomes another success as she also expands her entrees. After the news of her teacher‘s death, Veda (Evan Rachel Wood) tries to get an audition with a famed music impresario named Treviso. Instead, the audition becomes a disaster leading Veda to party with a group of young people.

Mildred is worried about Veda’s partying ways as she gets an unexpected visit from Mrs. Forrester. What Mildred learns from Mrs. Forrester has her worried while she asks Veda what happened. Veda revealed she turned to Wally for help as Mildred learns the realization of what Veda is trying to do. Yet, what is more shocking is Veda’s motivation to do so as Mildred kicks her out. With Veda gone, Mildred focuses on her business yet she longs for information about Veda. Then, she hears the news from Bert that Veda has succeeded as an opera singer.

Part 5

After learning about Veda’s success and hearing her sing through the radio, Mildred is desperate to contact her. She realizes that Veda’s music instructor is Treviso who is happy about working with Veda though suggests to Mildred to not make any contact with her for her own sake. With ideas of finding a new home in Pasadena, Mildred runs into Monty as they reconnect. Selling her his estate, the two get married as Veda makes a surprise appearance. Though everything seems fine as Veda becomes a big success. Mildred learns about some holes in her finances as it becomes clear what’s been happening. Even Bert reveals what’s been happening as people from her business have tried to warn her about something. It is there that Mildred faces not only betrayal but also heartbreak.

While the original 1945 film was a noir-like melodrama set in the 1940s, it was a very stylized approach to what James M. Cain had originally intended with the book. Under the direction of Todd Haynes, Cain’s story about a woman trying to win the heart of her ungrateful daughter expands into something much bigger and more realistic. Even as Haynes uses Mildred’s struggle early in the miniseries as an allegory to what was going in the late 2000s during the troubled economy. Yet, Haynes and co-writer Jon Raymond delve into the story about this woman’s desperate to succeed in her own times and win her daughter’s heart. Even by going to Cain’s novel and bring in characters that weren’t present or under-utilized in Michael Curtiz’s 1945 film.

The relationship between Mildred and Veda is the heart of the miniseries while characters such as Bert Pierce, Ida Corwin, Wally Burgan, and Monty Beragon are more prominent in the book. Even the character Lucy Gessler, who wasn’t in the 1945 film, is presented in the miniseries. With these supporting characters, they bring in their own perspective about the Mildred and Veda relationship though it’s told through Mildred’s perspective.

Since it’s told in nearly six-hours and in five parts, it’s all about Mildred’s progression from a wife whose husband has left her for another woman to struggle on her own. When she eventually takes a job as a waitress so she can raise her daughters. During this time as a waitress, she learns about the restaurant business and with the help of a few people. She starts her own restaurant and eventually succeeds by turning it into an empire. Yet, part of the motivation isn’t to give her daughters the chance to feel secure but also for them to have a very good life. Unfortunately, one of them wants more than that.

The character of Veda is someone that wants ambition and wants to succeed at any cost. When family tragedy occurs in the Pierce family, it does bring Veda and Mildred closer which also serves as Mildred’s reason to want to have Veda around her. Instead, Veda becomes more ambitious and falls for Monty’s lifestyle. The chance to play music and later, become a singer is Veda’s chance to not only leave Glendale but also leave the mother who she feels is holding her back.

With the relationship of the two progressing throughout the duration of the story, there comes various people involved that would look at this relationship. The one person that would help create the divide in the two is Monty. Monty is a rich playboy who likes to live a lifestyle that he can afford, at first. By the time his own finances dry up, he goes to Mildred for money as she takes care of him. Instead, his own time with Veda would be the breaking point as they won’t see each other for a few years. When he does reappear, he would be responsible for the reunion between Mildred and Veda. Yet, that wouldn’t last as he would create the problems Mildred would face the near-ruin of everything she’s worked for. What’s even worse isn’t just betrayal but also an indication of how foolish she can be.

Part of Mildred’s fault is her ability to try and please others such as Monty and Veda. Yet, they take advantage of her hospitality making Mildred into a tragic figure of sorts. Even by the miniseries’ climatic moment is where she finally reaches her breaking point following everything that has just happened to her. The ending of the miniseries isn’t as stylish as Curtiz’s film but it’s an indication of what Mildred has learned and realizes in the end.

The teleplay by Haynes and Jon Raymond succeeds in not only the character study of Mildred Pierce as well as other characters. They succeed in also creating the environment of what was it like during the Great Depression. Through Haynes’ sprawling yet stylish direction, he creates something that is not just reminiscent of 1970s cinema. He also brings a contemporary approach to the story while retaining the language of the 1930s. Yet, Haynes is always having his camera interested in what is going on with Mildred’s world and through the people around her.

There are scenes throughout the miniseries where Mildred is looking around whether she’s inside a car or at a restaurant looking around. It’s as if she’s is feeling detached by the world around her. Even as Haynes understands what Mildred is going through with her life. Even as the story progresses, she becomes more refined while is awaiting to be reunited with Veda. The scenes where Veda performs an opera is truly captivating as it’s shown not just from Mildred’s perspective but also in how Veda is displaying those emotions through her singing. It’s not just Veda singing to her mother where it seems like she’s being grateful underneath all of that performance is a young woman becoming more detached from the woman who tried to give her everything.

Haynes’ direction truly succeeds in creating a feeling of detachment while bringing new life to the world of the Depression in California though it’s mostly shot in the state of New York. The look of the 1930s during the Depression might not seem as decayed or in ruins but rather a period where people are struggling while trying to get things moving. Even as he creates wonderful shots and camera movements to get into the emotion of the story. Even as he ends each part with some sort of cliffhanger as the end of the first part really shows a great example of what is happening. The result is truly a magnificent miniseries helmed by one of American cinema’s great filmmakers working today.

Cinematographer Edward Lachman does a superb job with the miniseries’ gorgeous photography. Lachman plays up the sunny yet dreamy quality of many of the miniseries’ exteriors that gives it a Californian feel. For many of the interiors, Lachman brings in an amazing array of lighting schemes whether its to reflect sunlight against the glass in some scenes or creating a mood for what is happening. Lachman’s photography is truly exquisite as it is definitely the highlight of the miniseries’ technical work.

Editors Alfonso Goncalves and Camilla Toniolo do a phenomenal job with the editing of the entire series. With Goncalves on the first two parts, Toniolo on the third, and both doing the last two parts. The editing works in playing up to the drama and uncertainty about Mildred early in the story. Even as presents the story in a leisured yet methodical pacing while not making it too slow. While it’s length works as a miniseries which allows each part to be separated at over an hour each. The editing also works to convey the intense melodrama that occurs throughout the miniseries as it is definitely some fine work.

Production designer Mark Friedberg, along with set decorator Ellen Christiansen and art director Peter Rogness, does a great job with the recreation of 1930s California from the look of the restaurants and homes that characters lived in. Even with the cars as Freidberg and his team do something that is truly spectacular with the period setting including the grand scenes for the opera. Costume designer Ann Roth does a spectacular job with the costumes for the miniseries. Roth’s costumes plays up to the evolution of Mildred’s character from a middle-class woman struggling to find work to a woman with lavish clothes running a business. Even with Veda’s clothes early as child with someone wanting top-class to a much more grander style of clothing to represent her narcissistic personality.

Visual effects supervisor Lesley Robson-Foster does a very good job with the minimal sound effects to enhance the look of 1930s America along a few shots for some of the driving scenes. Sound designer Leslie Shatz does an amazing job with the sound work for the miniseries. From the way cars sounded back then to the surroundings Mildred would encounter throughout duration of the miniseries along with the homes she lives in. Shatz’s work is truly stellar in the way she allows the sound to intensify the dramatic elements of the miniseries.

The score by Carter Burwell is truly wonderful for the way Burwell plays up to the melodrama as well as the period of the music. Creating a score filled with lush arrangements and orchestral flourishes that is bombastic and also understated to play up the drama. Even with something as plaintive as a piano to help play to Mildred’s complex emotions. Music supervisor Randall Poster helps with the soundtrack by creating a mix of 1930s pop music at the time, notably I‘m Always Chasing Rainbows that serves as Mildred‘s sort of theme. Poster also selects varied classical opera pieces for Veda to play with vocals by Sumi Jo to serve as Veda’s voice. The music overall is fantastic as it’s another highlight of the miniseries.

The casting by Laura Rosenthal is definitely top-notch with the array of people that appears throughout the entire miniseries. In small but notable appearances include Paul Sparks as an agent trying to get Veda to New York City in the fifth part of the series, Mark Margolis as the diner boss, Miriam Shor as a diner waitress, Elvy Yost as Mildred’s secretary in the latter part of the miniseries, Halley Feiffer as one of Mildred’s waitresses, and Marin Ireland as Mildred’s maid/assistant Letty. Quinn McColgan is very good as Mildred’s youngest daughter Ray who provides all of the warmth and playfulness that anyone could ask for in a kid. Hope Davis is excellent in a small but pivotal role as Mrs. Forrester, a rich woman who snidely offers Mildred a job in the first part only to return in the fourth when she confronts Mildred about Veda.

Mare Winningham is great as Ida Corwin, a diner waitress who helps Mildred run the restaurant while being the person who tries to warn Mildred about the finances. James LeGros is wonderful as Wally Burgan, a businessman who occasionally sleeps with Mildred early in the series to help her start a business while being the man who would make decisions that baffles Mildred. Melissa Leo is phenomenal as Lucy Gessler, Mildred’s best friend and confidant who helps her run the restaurant business while trying to warn Mildred about Veda’s behavior. Brian F. O’Byrne is extremely impressive as Bert Pierce, Mildred’s first husband who leaves for another woman only to become a supporter of her and one of the few people she trusts. O’Byrne truly brings an everyman quality to Bert who is kind of a sap but a guy that is sympathetic as his own relationship with Mildred in the progression of the story becomes one of the most interesting as O’Byrne really shines.

Guy Pearce is amazing as Monty Beragon, the charming playboy who wows Mildred with his tastes as he helps her succeed. Yet, Pearce also brings a devilish quality to Beragon as he is someone who is more brutish and also lazy as a guy who just likes to live a lifestyle that he can’t really afford. It’s Pearce at his finest as he and Kate Winslet have some wonderful chemistry whether they’re in love or hating each other. For role of Veda Pierce, two actresses play the character in two different age groups. For the younger Veda, Morgan Turner is superb as this young, ambitious little girl who scoffs at the idea of the working class while being very spoiled. Turner adds a smugness to that character that makes her someone that anyone would love to hate. Yet, it’s a remarkable performance from the young Turner as it’s really a set-up for what will Veda become as a teenage girl/young woman played by Evan Rachel Wood.

Evan Rachel Wood gives, what is probably the best performance of her young career so far. Not only does she make Veda more unlikable, she makes Veda into a monster that anyone wishes would be dead. Wood truly brings a very dramatic flair to her character by being a bit over the top and also bringing the idea that she is a talented singer/musician in the way she mimics things. By the time the story progresses and she becomes larger than life, Wood definitely has moments she nearly steals the scenes from Kate Winslet including a nude scene that is one of the most infuriating moments of the miniseries. It is definitely a break-out performance for the young Evan Rachel Wood.

Finally, there’s Kate Winslet in what is definitely one of her greatest performances of her career. In playing the titular character, it is a very different performance than the one Joan Crawford gave in the 1945 performance. It’s stripped down and also very direct about a woman struggling to bring security to her young daughters and to succeed on her own terms. Winslet brings a real weariness to her character while her physicality in the way she reacts to things is just startling. Even as she has a great rapport with her fellow actors including Evan Rachel Wood where the two have great scenes together about their troubled relationship. While it may not be her best performance of her career, it is certainly among one of her best in an amazing career.

Mildred Pierce is a spectacular yet mesmerizing miniseries/melodrama from Todd Haynes featuring a towering performance from Kate Winslet in the title role. Along with some fantastic supporting work by Evan Rachel Wood, Morgan Turner, Guy Pearce, Melissa Leo, Mare Winningham, and Brian F. O’Byrne. It’s definitely a story that really plays to its sense of ambition and heartbreak. While it may not be as overly stylized as Michael Curtiz’s 1945 film, it is definitely a more realistic take on James M. Cain’s novel though both have the same idea. While it is a long story to watch, it is told in the right medium as a miniseries as Todd Haynes truly went all out for this story. In the end, the 2011 miniseries of Mildred Pierce is a dazzling yet intense project from Todd Haynes.

Todd Haynes Films: Superstar: The Karen Carpenter Story - Poison - Dottie Gets Spanked - Safe - Velvet Goldmine - Far from Heaven - I'm Not There - Carol - Wonderstruck - Dark Waters (2019 film) - The Velvet Underground

Related: Mildred Pierce (1945 film) - The Auteurs #3: Todd Haynes

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