proud_luddite

A single day is covered in three different time periods: in 1923, real-life author Virginia Woolf (Nicole Kidman) battles severe depression while working on her novel, "Mrs. Dalloway" in Richmond, England; in 1951, Laura Brown (Juliane Moore) is a pregnant housekeeper currently raising a young son in a Los Angeles suburb. Despite having what others would consider to be an ideal life, she is suicidal; in 2001, Clarissa Vaughan (Meryl Streep) is a New York book editor who acts as a co-dependent caretaker to her troubled long-time friend Richard (Ed Harris) who is depressed and living with AIDS.

This film is likely one of the best ever about the subject of mental illness. The various dramas are powerful and believable. The sensitive topic is handled with compassion and understanding in ways that are accurate, in-depth, and courageous while telling three riveting stories.

In addition to the great work of the four actors mentioned, there are other performances in smaller roles that also stand out. One is Toni Collette as Laura's next door neighbour, Kitty. In a short period, she exposes a lot of her life with many subtleties. Her discussions of her husband give us a lot of information about him even though he never appears in the film. He doesn't need to as the descriptions of him (including brief subtexts) are so rich. The writing deserves as much credit as the acting in this scene.

There is also Louis (Jeff Daniels) who is Richard's ex-lover. Louis' conversation with Clarissa about Richard (and themselves) is another powerful scene. Unlike the conversation mentioned in the above paragraph, the main subject of the conversation (Richard) does appear in the film and quite prominently. This contrast and variety add to the film's strength.

There's also Stephen Dillane as Virginia's husband, Leonard. He is in various scenes but his strongest is one where he and Virginia are having an argument at a train station. This one-on-one (like the other two previously mentioned) is very moving.

Kidman's performance can be praised for various reasons including being perfectly steady while portraying someone who is unsteady. It's easy to sympathize with Virginia as she expresses her pessimism on good days when she has no idea if/when the mental illness will return and if so, how bad it will be. There is also a powerful scene when Virginia is interacting with a young niece (Sophie Wyburd) while talking about a dead bird they've found.

There are various subtleties that add greatly to the story with many hints. One is the description of Laura as a teenager recalled by her husband, Dan (John C. Reilly) while their young son (Jack Rovello) listens. This revelation seems to fit Laura as to her future development.

Further praise for acting can go to Moore for her final monologue: a scene which is as rich in acting as it is in writing. The information revealed here is quite compelling.

Each story ends with some similarities as well as startling differences. Overall, the film has great compassion for those affected by mental illness and their loved ones affected in other ways. In addition to praises for acting, writing, and directing, the film also deserves praise for its musical score, costumes, and set design including the use of vintage cars in the 1951 segment.

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Stephen Daldry
• Screenplay by David Hare (based on the book by Michael Cunningham)
• Acting Ensemble

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In a small South American town, four European men live impoverished lives and want to leave. In desperation, they accept a dangerous but high-paying assignment to transport nitroglycerin to another region three-hundred miles away in order to extinguish an oil well fire. The men are paired off in two vehicles: Frenchmen Mario (Yves Montand) and Jo (Charles Vanel) in one; and Dutchman Bimba (Peter van Eyck) and Italian Luigi (Folco Lulli) in the other. The film is based on the novel by Georges Arnaud.

Most of the beginning scenes before the main action are good but some feel rather long. The characterization in this section is also less interesting and underdeveloped compared to what follows. They include Mario's overly lovestruck girlfriend, Linda (Véra Clouzot); and a heartless, greedy, one-dimensional American oil-company executive, Bill O'Brien (William Tubbs).

Another criticism of the film is that an important event at its conclusion seems unnecessarily harsh and sadistic with a dose of shadenfreude toward one of the characters. But these flaws are well dominated by the film's many strengths which take place during the treacherous journey.

Some scenes in the main section are long and they need to be. Director Henri-Georges Clouzot does a superb job in paying attention to small details that extend the tension and suspense. Other directors would likely not have succeeded as well.

And the actors playing the four truck-drivers are exceptional. Van Eyck stands out in a scene requiring rescuing skills. And the many conflict scenes between Mario and Jo were so good, they could have been part of a separate movie on their own. The character revelations in these scenes were amazing.

Highly recommended.

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Henri-Georges Clouzot
• Acting Ensemble (the four actors playing the truck drivers)

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Manuela Echevarria (Cecilia Roth) is a nurse in Madrid dealing with a recent shocking change in her life. She travels to Barcelona where she lived a generation ago in order to resolve issues of her past. Once there, she re-acquaints with her friend Agrado (Antonia San Juan), a transgender sex worker, while also searching for Lola (Toni Cantó), another transgender woman who had a deep connection with Manuela in the past. She also makes new connections with Huma and Nina (Marisa Parades and Candela Peña), actresses playing in a touring production of "A Streetcar Named Desire"; and Rosa (Penélope Cruz), a nun who works in a shelter for battered sex workers. The film is written and directed by Pedro Almodóvar.

This movie is filled with bizarre people who have bizarre connections with each other and share bizarre situations. And it works perfectly. In spite of all the oddities, everything is believable and even amazing. The anarchic supportive community that is created is one which some of us might envy despite the tragedies and difficulties that some individuals face. The communal spirit is best on display in a scene when four characters are laughing hysterically while discussing male genitalia. This is the funniest scene in a film filled with many other hilarious moments.

Taking place in two of the world's most stunning cities, the film has a beautiful, cosmopolitan feel to it while also focusing on tragic issues like drug addiction, AIDS, and Alzheimer's.

Like most of Almodóvar's other films, this one has amazing opening and closing credits with a lot of humour.

"All About My Mother" is one of those rare films that is mostly about women. It's unfortunate that such films are so rare but this one is a gem that helps fill the gap.

The great cast also includes Rosa Maria Sardà, Fernando Fernández Gómez, and Eloy Azorín.

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Pedro Almodóvar
• Acting Ensemble

• dbamateurcritic (wordpress)