The Human Stain

I honestly can not think of a single thing wrong with this movie. The actors are top rate actors that consistently turn in exceptional performances. This movie is no exception.

The plot is intriguing. The pasts of the main protagonists unfold, making their characters exceptionally deep. We get to see these characters evolve in interesting and compelling ways. There are shades-of-grey in these characters. We don't have the perfect hero. We have gentle people with kind hearts who make mistakes.

The direction is perfectly understated. There is a lot of nuance in the way the scenes are filmed and the way in which the actors are framed. Instead of the love scenes being the all-to-familiar humping and groaning, these scenes are filmed without graphic nudity. Note the way in which Anthony Hopkins places his hands on Nicole Kidman's back. It is so loving and tender and intimate.

Even the editing is right on. The length of the film, at 106 minutes, is the perfect length. There are no wasted scenes.

Some of the material is hard to watch. Note the posture and the facial expression on Anthony Hopkins in the kitchen scene in which Nicole Kidman is giving him a hard time. It is subtle and painful to watch.

If you are into light-hearted escapist film, this isn't for you. The subject matter is deep and difficult. I like these kinds of movies and this one is one of the best in class.

Kudos to all involved with this film.

I'm terrifically surprised at all the middling reviewing of this film, to the point where I feel I have to echo the last few reviews that stand in opposition.

This is a film that just does it right. Unlike so many other dramas with heavyweight casts, this really feels like it's about the story, not the work. Kidman, aside from slipping into her native accent on a handful of words, is fantastic -- perhaps her very best. Harris, like Streep and maybe two or three other actors, brings a real humanity to a role that any other actor would just fill out.

But most of all, everything is in the background and hence subservient to the story. The gorgeous lighting, scenery, dialog -- the whole craft of the film is done the way it's supposed to be done, in the damn background. That all said, I think the real reason this film is slighted is because it's a little too good for the average viewer. It doesn't live up to their idea of what a lit-cum-drama is supposed to feel like. I just have a feeling that in several years this will be revisited and appreciated much more. Now, I'm going to go watch it again!

This movie is based around the life of a classics professor (Coleman), who is currently living in a small New England town. He has harboured a dark secret for 50 years which slowly starts coming out and causes his life to unravel painfully. When he loses his job after being wrongfully charged of racism, his wife dies leaving this man who is near retirement, with nothing. He embarks on an affair with a young cleaning lady from the college which quickly turns into a relationship as they reveal intimate secrets to each other and finally find the release and trust they've each been searching for. I quite enjoyed this movie – there was some excellent acting from some top actors, and the sense of intrigue and suspense was maintained throughout. The characters were well-written and the complexities which lingered within their personalities original yet believable. There were moments where I held my breath waiting for the tension to subside and others where I found myself wishing that everything could work out nicely for the people in this story, and remove the arguments and misunderstandings which threatened to ruin what good things they had. It is a truly great movie which can inspire this level of emotion in its audience. The main downside was the fact that it did not seem to flow very well between flashback sequences and the present. Of course I could clearly make out which scenes were of a younger Coleman and memories of the past, however at times failed to recognise their significance at that particular point. It may have been a better idea to insert several shorter flashback clips instead of the lengthy scenes used so that the connection with the present was not lost. There were also sections where the story lagged slightly and I questioned the need for these scenes. In some parts the use of visual without dialogue was extremely effective, but in other parts I felt that the scenes existed solely for the sake of art. In particular, scenes such as the lingering shot of Coleman cradling his wife as she died, froze time and really made me feel the incredible and very sudden loss he suffered. But in comparison, a sequence where the professor's young lady is dancing erotically for him seemed clumsily done as I felt it existed purely for the sake of displaying a sex scene. It did not have the effect of deepening our understanding of the emotions the two main characters felt, which I think it should have done. I was amazed at the end when the terrible secret was revealed through the investigations of a writer who the professor had befriended. To me it would seem wrong to live such a deception your entire life but the movie helped me to understand the character's motives and how he felt that he had no other choice. I was left feeling saddened that someone would have to deny their heritage to such an extent in order to achieve their goals. While it takes a bit of patience to get through the movie (which could have been 20mins shorter), I would highly recommend this movie to anyone. With any luck the more people who watch this movie, the more open-minded society will become and hopefully this type of prejudice will disappear.

This just opened in Lawrence, KS, a university town, at the theater that shows indies and foreign films. Maybe Miramax is hoping for a "Big Fat Greek Wedding" type of reaction?

I've not read the book but, to me, this was a very satisfying film, with some examination of a number of issues: the costs to a black person of crossing over and becoming white -- and/or the price to anyone of becoming disconnected from their families. Although disconnection may give greater freedom in some ways, in others it forms an uncomfortable prison. Another issue might be described as a variant on, "Let he who is without sin cast the first stone." And yet another is that the "stain" that all of us carry also stains others with whom we come in contact. And maybe there's a dear price (and reward?) that may be paid for following heart too much rather than head?

Really solid performances by some great actors -- Hopkins, Kidman, Harris -- and the others.

Some gratuitous nudity was injected, maybe to help ticket sales?, but it was not too far-fetched from the story line.

All the backgrounds fit (I grew up in Vermont and lived in academia many years elsewhere); the landscape and the Volvos plus the professor's house had a very authentic feel.

'The Human Stain' is about two individuals, battered and bruised by life, who try to find meaning and purpose in a May/December romance. Anthony Hopkins plays Dr. Coleman Silk, a college professor who 'resigns' just prior to his retirement after a student unjustly accuses him of making a racist comment in his classroom. Compounding the tragedy, Coleman also loses his wife to a brain aneurysm, the direct result, Coleman believes, of stress caused by both the accusation and the lack of support he receives from friends, colleagues and university officials concerning the charge. The irony is that Coleman, unbeknownst to anyone else, is actually a light-skinned black man who has spent his adult life hiding his true identity from the world. Coleman's life takes a seeming turn for the better when he enters into an affair with Faunia Farley, a 34-year old cleaning woman (Nicole Kidman) who has lost her two children in a fire and who is being stalked by her violent, mentally unstable husband, played by Ed Harris. The fourth major character is Nathan Zuckerman (Gary Sinise), a reclusive author who becomes a friend and confidante of the ex-professor, and who ends up writing a story about this odd but compelling relationship.

'The Human Stain' is an uneven, often muddled film that still has a great deal to offer the discriminating viewer. On the negative side, Hopkins is woefully miscast in the lead role, not because he delivers a bad performance (he doesn't), but because we find it virtually impossible to accept him as an African American passing himself off as white. This may, indeed, be a case of a bridge too far when it comes to the extent to which we are willing to suspend our disbelief for any story, no matter how worthy its aspirations. The film also suffers at times from a lack of clear definition, particularly with the Kidman character who remains pretty much an enigma throughout. That isn't necessarily a bad thing since ambiguity is often more intriguing than clarity, but the filmmakers in this case needed to work a bit harder in developing her character. Coleman's story is considerably more compelling, particularly in the scenes flashing back to the 1940's, as Coleman as a young man (well played by Wentworth Miller), has to cope with the difficulties of being a racially ambiguous person in a clear-cut, black-and-white world. Frankly, the movie might have been more interesting had it focused on this aspect of the story and dropped the main plot line altogether.

Still, 'The Human Stain' is worth watching, albeit more for what it promises than for what it delivers. The plotting may not always hold up under scrutiny, but the tone of quiet sadness that permeates the film pulls us into the tale anyway. Here are two people who have been so mistreated by circumstances that even they don't know what it is they're searching for. They just know that they can't continue going through life alone with no one to rely on for support. As a result, we find ourselves drawn to these two people even though we can't always figure out why. Hopkins (despite the serious credibility problem) and Kidman underplay their roles nicely, highlighting the sadness and vulnerability of their emotionally wounded characters.

'The Human Stain' is a mixed bag of a movie, an admirably original and complex film that never quite brings all its various elements together. Sinise and Harris' characters seem particularly contrived and tacked on, little more than awkward devices inserted to keep the plot moving along. Still, in this day and age when most films provide little or no food for thought, even an unsatisfying work like 'The Human Stain' can serve as nutrition for the starved soul.