4 reviews
I loved this film. Granted, I'm a big Dan Day Lewis fan, but still-
Michael Mann perfectly captured the beauty and horror of the James
Fenimore Cooper novel. This is another, if rare, example of a film maker
bringing out the strengths of a classic work of literature.
Mr. Lewis is strong, silent, tortured and every gesture, every nuance is
absolutely perfect, and on top of it all- respectful of the great novel
that this movie is based on.
I was also pleasantly surprised with Madeleine Stowe, I'd never really
been a great fan of hers before, but I am now.
And the director and cameraman did work that will take your breath away.
If you rent this, you will not be sorry.
Michael Mann perfectly captured the beauty and horror of the James
Fenimore Cooper novel. This is another, if rare, example of a film maker
bringing out the strengths of a classic work of literature.
Mr. Lewis is strong, silent, tortured and every gesture, every nuance is
absolutely perfect, and on top of it all- respectful of the great novel
that this movie is based on.
I was also pleasantly surprised with Madeleine Stowe, I'd never really
been a great fan of hers before, but I am now.
And the director and cameraman did work that will take your breath away.
If you rent this, you will not be sorry.
This is my favorite of all the Wharton novels adapted for the screen. The precision and depth with which the director and actors go is absolutely true to the novel in almost every respect.
Gillian Anderson is a revalation here, she perfectly captures the repression and pain of being a woman stuck in that time and place with no way out. You can feel her pain and torment in every quivering close up, and the passion contained in her kissing scenes (or to be more precise, her NON kissing- kissing scene) with Eric Stoltz is something to behold.
Eric Stoltz is equally amazing in one of the most complex and difficult roles for a man to play. I must disagree with the viewer from China, Mr. Seldon is NOT meant to be terribly "masculine" or "deep voiced" or "unbearably handsome"- those are modern readings that perhaps we expect from the role of the 'male hero' in modern films- but here Mr. Selden is written exactly as he is played- walking a fine line between what is correct behaviour for the time, and what he was or wasn't allowed to do in regards to her rescue. He is torn by love of Lilly Bart and the realization that he is not the right man for her, as the all important social scene would frown on their union. The actor portrays this ambiguity perfectly, and I for one found it a relief that the man didn't ride in and save the day in that cliched movie way.
I also must commend the supporting players of Anthony LaPaglia (whose role "Sim Rosedale" is originally written as a Jewish man, one of the few changes made to the n script adaption of the novel) and Laura Linney as Bertha Dorset, the 'bad girl' of the story. They both bring a life to the story that is rare to see in a period film, most actors seem to be too afraid or respectful of the material to really bring it to life.
I even enjoyed Dan Ackyroyd in a role that I didn't see him in or expect to like him in. I suppose my feelings about him are coloured by old Saturday Night Live shows, or Driving Miss Daisy, but I think he was terrific in a role that is not the most explored in the novel or the film.
Everything about this film held my interest and moved me, and I'm a very tough audience as far as Wharton goes. The pacing is indeed slow, but if you give yourself over to it it is like taking a warm bath in a quick shower world.
Very well done!
Gillian Anderson is a revalation here, she perfectly captures the repression and pain of being a woman stuck in that time and place with no way out. You can feel her pain and torment in every quivering close up, and the passion contained in her kissing scenes (or to be more precise, her NON kissing- kissing scene) with Eric Stoltz is something to behold.
Eric Stoltz is equally amazing in one of the most complex and difficult roles for a man to play. I must disagree with the viewer from China, Mr. Seldon is NOT meant to be terribly "masculine" or "deep voiced" or "unbearably handsome"- those are modern readings that perhaps we expect from the role of the 'male hero' in modern films- but here Mr. Selden is written exactly as he is played- walking a fine line between what is correct behaviour for the time, and what he was or wasn't allowed to do in regards to her rescue. He is torn by love of Lilly Bart and the realization that he is not the right man for her, as the all important social scene would frown on their union. The actor portrays this ambiguity perfectly, and I for one found it a relief that the man didn't ride in and save the day in that cliched movie way.
I also must commend the supporting players of Anthony LaPaglia (whose role "Sim Rosedale" is originally written as a Jewish man, one of the few changes made to the n script adaption of the novel) and Laura Linney as Bertha Dorset, the 'bad girl' of the story. They both bring a life to the story that is rare to see in a period film, most actors seem to be too afraid or respectful of the material to really bring it to life.
I even enjoyed Dan Ackyroyd in a role that I didn't see him in or expect to like him in. I suppose my feelings about him are coloured by old Saturday Night Live shows, or Driving Miss Daisy, but I think he was terrific in a role that is not the most explored in the novel or the film.
Everything about this film held my interest and moved me, and I'm a very tough audience as far as Wharton goes. The pacing is indeed slow, but if you give yourself over to it it is like taking a warm bath in a quick shower world.
Very well done!
I must say outright that this book is one of the best Edith Wharton books you could possibly read, so I was a little dubious going into this film.
I was pleasantly surprised though by the detail and care that the director and actors put into it, although I would quibble with one point- I found that rather than the Whartonian 'repression', the performers seemed to be awkwardly stumbling with their emotions- it's a fine line to be sure.
Liam Neeson does a wonderful job in this film, beautifully nuanced performance, and Joan Allen (as always) just about walks away with the film.
Absolutely worth a viewing, but try the book first, it's superb.
I was pleasantly surprised though by the detail and care that the director and actors put into it, although I would quibble with one point- I found that rather than the Whartonian 'repression', the performers seemed to be awkwardly stumbling with their emotions- it's a fine line to be sure.
Liam Neeson does a wonderful job in this film, beautifully nuanced performance, and Joan Allen (as always) just about walks away with the film.
Absolutely worth a viewing, but try the book first, it's superb.
This was not my favorite of the Wharton films (that would have to be The House of Mirth), but it certainly is the most lavish and dutiful adaption.
Mr. Scorcese does masterful camera work and evokes loving performances from all the performers, and yet I felt something staid and almost too respectful. Michelle Pfieffer seems to be the only actress who didn't fully embrace the period in manner or behaviour, but the rest of the performers aquit themselves wonderfully.
At times it almost felt a little 'modern', but one can't fault the film makers, they were only trying to update it a bit for their intended audience.
Altogether a wonderful film and definitely worth seeing, but - as always- the book remains far superior.
Mr. Scorcese does masterful camera work and evokes loving performances from all the performers, and yet I felt something staid and almost too respectful. Michelle Pfieffer seems to be the only actress who didn't fully embrace the period in manner or behaviour, but the rest of the performers aquit themselves wonderfully.
At times it almost felt a little 'modern', but one can't fault the film makers, they were only trying to update it a bit for their intended audience.
Altogether a wonderful film and definitely worth seeing, but - as always- the book remains far superior.