Una giovane donna che è entrata e uscita dalla riabilitazione negli ultimi dieci anni, torna a casa per il fine settimana per il matrimonio di sua sorella.Una giovane donna che è entrata e uscita dalla riabilitazione negli ultimi dieci anni, torna a casa per il fine settimana per il matrimonio di sua sorella.Una giovane donna che è entrata e uscita dalla riabilitazione negli ultimi dieci anni, torna a casa per il fine settimana per il matrimonio di sua sorella.
- Regia
- Sceneggiatura
- Star
- Candidato a 1 Oscar
- 32 vittorie e 65 candidature totali
Trama
Lo sapevi?
- QuizThere is no pre-recorded background scene music throughout the film. All music heard in the film is performed live on-screen.
- BlooperJust before Kym wrecks the family car, the sound of the motor and the rate at which the scenery passes indicates the car is moving at high speed. However, the speedometer needle indicates a speed of only 5 - 10 miles per hour.
- Citazioni
[Kym speaks at a twelve-step meeting]
Kym: When I was sixteen, I was babysitting my little brother. And I was, um... I had taken all these Percocet. And I was unbelievably high and I... we had driven over to the park on Lakeshore. And he was in his red socks just running around in these piles of leaves. And, um, he would bury me and I would bury him in the leaves. And he was pretending that he was a train. And so he was charging through the leaves, making tracks, and I was the caboose, and I was, um... so he kept saying, coal, caboose! Coal, caboose! And, um, we were... it was time to go and I was driving home... and... I lost control of the car. And drove off the bridge. And the car went into the lake. And I couldn't get him out of his car seat. And he drowned. And I struggle with God so much, because I can't forgive myself. And I don't really want to right now. I can live with it, but I can't forgive myself. And sometimes I don't want to believe in a God that could forgive me. But I do want to be sober. I'm alive and I'm present and there's nothing controlling me. If I hurt someone, I hurt someone. I can apologize, and they can forgive me... or not. But I can change. And I just wanted to share that and say congratulations that God makes you look up, I'm so happy for you, but if he doesn't, come here. That's all. Thank you.
- Colonne sonoreBridal Chorus
Written by Richard Wagner
The film is a slice of life piece detailing a small space of time, only a few days, where Kym returns home from a rehab clinic just in time for her sister Rachel's wedding. Anyone who has ever taken part in arranging a wedding, especially one taking place in the family home, knows the extreme stress already present, so toss a young, partially unstable girl into the mix and top it off with a nice coating of family denial and dark skeletons in the hallway closet, then you get the full picture of this film. Relationships are strained, ties pulled so tight and taut they could snap and still they try to work it out through screaming, laughing and crying (not necessarily in that order). After all, it's about a wedding, who's not happy at those? Before giving Anne her due credit, let me shed some light on someone most people won't know off the top of their heads. Rosemarie DeWitt plays the title role of Rachel and she does it with the utmost tenderness and subtlety. What she brings across is the inherent hatred, resentment and unending compassion sisters can feel for each other, even through the worst of storms. With a film more comfortable in the category of "ensemble piece", Rosemarie is the catalyst and pushes the energy along, changing and charging every one of her scenes. But the light shines brightest on Anne Hathaway as Kym, the ex-junkie, ex-alcoholic, ex-return rehab patient bordering on becoming an ex-family member. Audiences claim this as a breakthrough performance because they fell in love with Anne in The Princess Diaries movies, Ella Enchanted and the wonderfully wicked The Devil Wears Prada. Yet what they might not remember is she's played rougher, tougher roles in Havoc and Brokeback Mountain, showing the more mature and adult side of her skills. So I wasn't all that shocked to witness the brilliance she brought to this film, but I will celebrate it all the same. Anne jumps in and exposes a vulnerability, a cavern of pain and lost love, which drives the emotional core of the picture. From opening credits to the closing moment, she is the elephant in the room everyone must deal with and the magical point is this is the first time where the audience can begin to empathize with the elephant and not the onlookers. I can't end the acting portion of this review without bringing up Bill Irwin and Debra Winger as well. Bill plays her father and churns out a tenderness only an accomplished actor such as himself could generate. There are such small moments, such tiny fractures in his facade which allow you to peer into the heart of a man trying to choose between his greatest love and his greatest loss. On the other side, Debra Winger plays her mother, who has chosen to block out the pain in her past and skate by the rest of her life, allowing the blackness and hurt to fester and suffocate any chance at a real connection with her daughters. As you can read, the acting on display here is sensational and will undoubtedly be remembered during awards season.
As a total film, I'm not sure the story reaches the same heights. A lot of great scenes and spectacular moments are created, but the story lacks cohesion. A particular subplot about the family and its deep love for music is mentioned and referred to over and over, but never fully explained or explored, which weighs down later scenes during the wedding celebration and the overlong musical sequences. During most of the musical moments, all I really wanted was to get back to the story, back to the family and to Kym. Also, the connection between Rosemarie and her soon-to-be husband Sydney (played by Tunde Adebimpe) never quite comes across. There is a wonderful moment during their wedding vows, but it could have been helped even more if their relationship had been more centered earlier on.
On the directing front, Jonathan Demme, with the assistance of a touchingly tender script from Jenny Lumet, helps craft a reality we can all believe in, a home we can all feel we've been to before. Much of this intimacy and nuance came from the free form style of camera movement, with the actors never knowing where and when the camera was going to appear on them. Everyone was basically playing everything from the moment he yelled action, so there were emotional surprises around every pan of the camera. That technique gave the movie a certain level of improv or even documentary feeling, like the audience was the most silent of voyeurs.
Recommendation: A powerful series of moments, filled with terrific acting, that don't quite come together as a film. Certainly has great value to witness, but the theater experience might not be necessary. Also, this really is meant for those viewers not afraid to open themselves up to it.
- goldwriting
- 3 ott 2008
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- Rachel Getting Married
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 12.796.841 USD
- Fine settimana di apertura Stati Uniti e Canada
- 293.369 USD
- 5 ott 2008
- Lordo in tutto il mondo
- 16.937.968 USD
- Tempo di esecuzione1 ora 53 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1