Far From Heaven

Rating:
Summary: "I know it's a sickness . . .
Review: ". . . because it makes me feel DESPICABLE!" That's Dennis Quaid, after his wife (Julianne Moore) discovers that he's a closeted homosexual. Quaid plays a going-places executive named Whitaker in 1957's Hartford, Connecticut whose secret life away from the comforts and conformity of home threatens to destroy his family. Throughout much of the movie, Quaid is either drunk or close to hysterics: the actor is clearly channelling Robert Stack's turn as the self-destructive profligate in Douglas Sirk's *Written on the Wind*. He's not the only channeller. Dennis Haysbert, as the African-American gardener for the Whitaker home, pulls off a neat trick by eschewing the expected imitation of Sidney "Call me Mr. Tibbs!" Poitier, going instead for a careful mimicry of Rock Hudson's gardener in *All that Heaven Allows* (and every other Sirk film Hudson starred in). Fine as these performances are, Julianne Moore -- on my short-list of the Greatest Actresses in Cinema, Ever -- as the progressive housewife trumps them all by not imitating (or "homaging", if you insist) anyone. She simply turns in an exquisitely crafted performance, straight from the heart. Director Todd Haynes has equal craft, but not nearly as much heart. *Far from Heaven* is, of course, the heralded new pastiche of the great Douglas Sirk melodramas from the 50's. Though it's mostly a remake of *All that Heaven Allows*, Haynes inserts elements from *Imitation of Life* (e.g., the race issue) as well as elements from Real Life (e.g., the real-life Rock Hudson, who was a closeted homosexual himself). It's a bit too easy for movie buffs to admire the cleverness of Haynes' melodrama-by-numbers (though how often a general audience will appreciate all the inside jokes is anybody's guess) without asking the tough question: What's the point? What does this film prove? That stifling conformity and racism are bad? But we already knew that. They knew it in the 50's, too . . . but the key difference was that Sirk brought these themes to the fore in a manner that was relevant for his times. In-your-face racism against blacks, and the question of how society handled the sexual requirements of middle-aged houswives, were critical issues back then. We still have racism, of course, but not of the same flavor: it seems to me that a modern-day update would be not only useful, but, considering the many neuroses that afflict us in 2002, mandatory. For instance: why not have a preacher's wife in, say, Kansas, fall madly in love with the local Islamic fundamentalist? If you're going to imitate Douglas Sirk, you should go for the heart of his accomplishment, which was the elegant subversion of CONTEMPORARY morals and mores. Does "exposing" the hypocrisies of 1950's America really accomplish anything, other than establishing that We've Come A Long Way, Baby? In this film, Haynes -- despite his obvious efforts to the contrary -- becomes ultimately unable to avoid condescension. While we can admire his technical mastery (and this film DOES get Sirk's cinematic style down to a "T"), we also realize we're being led down the easy path to holier-than-thou superiority. In other words, *Far from Heaven* is far from *All that Heaven Allows*.

Rating:
Summary: FAR FROM HEAVEN AND JUST LEFT AT THE CAR WASH
Review: There was a collective grumble from the theatre audience as the words 'The End' flared up in thick old-fashioned style at the end of "Far From Heaven", the slick and glorious melodrama inspired by big budget posh living room movie sets of the 1950s. It seems we wanted more from this wretchedly docile story of a socially correct with a plus suburban socialite who catches her husband in the embrace of another. This seemed more parody than anything else. Picture Harriet Nelson polishing silverware and discovering someone has spit on the gravy server. There is simply no explaining the husband's near frantic reaction to protect his reputation when his wife is seen talking to the black gardener and his subsequent choice of lifestyle in a town he spent eight years earnestly building a good name in. Unless of course he lied and never did return to work as an electronics manufacturer executive, and had no intention of hanging around his lousy town, supporting his children or maintaining their Beaver Cleave home. That would leave the poor woman lower in social status than even ... even ... never mind. There's not enough sympathy for the guy here. Imagine caressing a woman knowing a Good Housekeeping Seal of Approval may flare up at any moment.

Rating:
Summary: A vision superbly realized
Review: Todd Haynes' new film is a homage to 1950s Hollywood, specifically the glossy Technicolor dramas of Douglas Sirk, "women's pictures" featuring stars such as Jane Wyman and Lana Turner as glamorously coiffed and dressed women beset by adversity. From the fonts chosen for the opening title sequence, to the music by veteran film composer Elmer Bernstein, to every detail of the set decoration and costuming, the period is evoked to perfection, not so much the actual time period as how it was portrayed on film.

It is thus easy early on to regard the movie as a campy sendup, with its stilted dialogue and portrayal of an impossibly perfect family, social and business life. As "Far From Heaven" progresses, however, it is apparent that Haynes has a much more grandiose aim. His genius and unique power is his ability to continue evoking the film conventions of Sirk and 50s Hollywood even as he subverts them. Cathy Whitaker (Julianne Moore), faced with the knowledge that her husband (Dennis Quaid) is straying, turns to the handsome gardener (Dennis Haysbert) for solace, just as Jane Wyman turned to Rock Hudson in Sirk's "All That Heaven Allows." (Note the titular reference.) Only this time the handsome, intelligent, soft-spoken gardener is black. Moreover, she catches her husband in the arms not of another woman but a man. Suddenly Moore's impeccably styled and coiffed heroine is dealing with homosexuality and the possibility of interracial romance, issues that tear her carefully managed existence to shreds by the end, with no artificial happy ending this time to restore order.

Haynes' vision could not have been realized without the assistance of his leading actors, all of whom give performances that brilliantly walk the fine line between sincerity and irony. Julianne Moore's Cathy and Dennis Quaid's Frank are fine enough, but Dennis Haysbert arguably has the most difficult task--to make the impossibly noble and intelligent gardener a believable human figure. (A scene where Cathy and her gardener converse about Miro at a posh art opening that he has somehow managed to wander into strikes, for me, the only false note in the script.) It is a measure of his success that the scenes between him and Moore, while they occasionally may be implausible as drama, are always believable as two wounded souls reaching out to one another. Due to the depth and power of the emotions projected by the actors, "Far From Heaven" transcends its origins as a retro-homage and attains the power of the finest human drama. It's the best film I've seen in a long time.

Rating:
Summary: Nostalgia with a twist!
Review: This is a great movie. First off it is beautifully directed and beautiful to watch. Todd Haynes models it after a 1950's styled film in all respects. The cars, scenery, dialogue, hair coiffure, dress, makeup, it is all so much conformist glitz.

The Idyllic post war 50's family in every way except --- Soon we are thrust into a confrontation with what were very uncomfortable issues involving racism and homophobia. Of course, in many parts of this country, these still are uncomfortable issues but what can I say, I live in Northern California and I'd like to think most of us here have already come to terms with these issues and as one would say, "se la vie!"

Sorry, there is no way given the circumstances of the time that one could expect a "happy ending" However, one gets a quintessential ending of unrequited love as the train pulls away from the station.

The acting is superb. Juliane Moore was pregnant at the time so her puffed out skirts were a rather good attempt to hide that fact. She's right up there with one of the greatest female actors of our time. I especially liked the younger son, hair parted on the right, saying such "leave it to beaver" things as "aw shucks, pop." We intended to see the new Bond movie but it was sold out so we went to this on a second choice rebound and we were not in the least dissatisfied. The colors, camera work, period scenes are pure notalgia.

Rating:
Summary: Perfection unraveled in Far from Heaven
Review: From the first cinematographically beautiful screen, Far From Heaven bathes the movie-goer in its lushness, its luxuriant view of life in the 'fifties. Director Todd Haynes completely avoids the unconscious condescension toward that era expressed by other movies which use black and white or a two-dimensional stereotype of daily life to represent a feeling we have that something was lacking in the life of the 'fifties.
Julianne Moore's character "Cathy" certainly begins the movie with an appreciation of the richness of her life. Stunningly beautiful in the movie, Cathy knows she has a beautiful life, and works hard to hold her vision of perfection together. Liberal, kind, polite, she is "Mrs. Magnatech", an icon of her age. So perfect is her world that it is believable, though funny, when she rebukes her son for saying "Jeez, Mom," with a "We don't use language like that at this house." Perfectly costumed, perfectly coiffed (look for Oscar nominations for costume and make-up), she sallies forth to carpool, to volunteer for good causes, to support her husband, to plan perfect parties in her perfectly modulated voice.
Her husband, Dennis Quaid, "Mr. Magnatech", has much more difficulty trying to uphold the image. His perfect world is in trouble, and he is unravelling as his dark secret is coming into the light. While he distances himself from his perfect wife, his perfect life, she meets a man who is her equal in dignity, in compassion, in love for beauty and the arts, a natural king among men. And, oh yes, he's black.
Julianne Moore's performance is Oscar-worthy. Personally, I do not care for Dennis Quaid, so the fact that I didn't care for his character worked for me. I do not know whether Dennis Haysbert exercised any acting muscle or not, as the only roles in which I've seen him call for him to be this accomplished, dignified, caring and wise man. His role on the "24" television series seemed to call for more of a stretch. But he certainly inhabits this character.
As this lovely, serene little world of prettiness, pleasantness, and perfection crashes upon the ugliness beneath, we are already so vested in this movie that we are not tempted to look condescendingly at the 'fifties for its self-delusions, but to look at other eras instead. Remembering the era of The Crucible, for example, where even more rigid images of perfection controlled the surface, and even more viciousness lay hidden beneath, we know we've progressed somewhat over the ugly attitudes which come into the sunlight in Hartford, Connecticut, in this portrayal. But we leave the theater wondering in what ways our own images of perfection are blinding us to our own era's ugliness beneath.
"Best movie" material--- certainly likely to be overrun, but should not be overlooked.

Rating:
Summary: Director of the Year!
Review: In FAR FROM HEAVEN, Todd Haynes fulfills the promise of his brilliant early works (i.e. POISON) and has delivered not only his best film, but one of the best films of the year.

Not so much a tribute to cult-favorite director Douglas Sirk as a reimagining of his style, HEAVEN turns the 50s "women's picture" genre on its ear while simultaneously embodying its stylistic conventions. Gorgeous to look at, filled with beautiful and subtle performances, the picture will move many to tears and send many back for a second look.

In a season filled with noisy and obnoxious prefabricated and pre-sold "blockbusters," a film of such quiet beauty may not get the attention it deserves, so see this one soon - and tell your friends!

Rating:
Summary: Important and Emotionally Compelling
Review: The tremendously talented director Todd Haynes, has created an amazing new film called Far From Heaven. It is the 1950s in Hartford, Connecticut. Cathy Whitaker (Julianne Moore) lives in a perfectly lovely house with a perfectly lovely family. She is a respected and envied member of her community, admired for her liberal mind and successful husband. However, as the film progresses we see trouble brewing between husband and wife. Frank Whitaker ( Dennis Quaid) is coming home later in the evenings and his drinking is slipping out of control. Then Cathy, ever the dutiful wife, walks into Frank's office late one night while delivering his dinner and discovers her husband's horrible secret. The occurrence is such a shocking rupture to their peaceful world that they aren't able to summon the language to articulate it. Instead, they try to carry on as if nothing has changed using the most modern psychological methods to deal with it. But it becomes increasingly obvious that this isn't possible despite running away to a peaceful vacation in Miami where Cathy proclaims "Everything is pink!" Not least of all because Cathy has befriended her new black gardener (Dennis Haysbert) and the town sure is talking. These characters all struggle to voice their independent needs in a society whose code of conduct is so strict that anything which deviates from it must be swept quickly under the carpet or violently vilified, where "jiminy cricket" is considered strong language not to be used in the house.

From the moment the camera pans down on this perfect community life, we realise we are looking through the prismatic lens of America's most prominent ideals: happy family, affluent lifestyle, happy home. This film was strongly influenced by the melodramatic 50s films of Douglas Sirk, particularly All That Heaven Allows. Haynes uses colors in a way similar to Sirk that creates sharp contrasts of emotional moods that aren't possible to articulate in the restrained dialogue. Each scene is carefully balanced with soft and hard colors setting the mood. Similarly, the script reflects those melodramas inspired by stories from Ladies Home Journals. The characters are only allowed to speak of things on the surface because of the constraints of their community and are only occasionally given moments to speak in grandiose terms of life's great mystery. Sweeping over this emotional tale is a triumphant score composed by Elmer Bernstein that will remain humming in your mind after the film ends.

The actors of this film really contribute to its tremendous success. Dennis Quaid's performance is powerful in conveying his inability to express hidden aspects of his identity as well his complete disregard for Cathy's needs. He is often cloaked in shadow as if striving to disappear from his hated environment. Dennis Haysbert's character is dignified, quietly hopeful that you may do what feels right if you don't pay attention to the sneering gossips. Haysbert conveys this wonderfully and makes our hearts break when his dignity is eclipsed by fear once serious danger arrives on his doorstep. Equally strong are smaller roles performed movingly by actors like Bette Henritze and young Jordan Puryear. Most prominently, the film is carried along beautifully by its center, Julianne Moore. She gives tremendous dignity to this female character who in her own way is trying to understand and define her desires amidst a maelstrom of public scrutiny. She trembles in the face of prejudice, anger and hate, but never crumbles. Unlike her husband, who wildly abandons the needs of everyone but himself, Cathy must keep up the house and uphold appearances. It would be easy for Moore to deliver this in a knowing self-conscious manner like parody, but we never see more than the utmost sincerity. Her performance is worthy of many awards.

One might ask why Haynes felt it necessary to dredge up this outmoded film style now. The answer he has given to this is that it conveys aspects of our society that aren't possible in modern, straightforward films. He says that the "issues" raised in this film are still evident in our 2002 society in different forms, but remain unresolved nonetheless. The primary accomplishment of this film is the way it raises issues from different marginal groups of American society, revealing that most commonly women's needs are almost always placed last. No one meaning breaks to the forefront of your understanding of the film though. It is most definitely not playful pastiche. Perhaps the style of it is intended to just hold up our ideals to the light, like a piece of fine crystal to illuminate all the cracks and magnificent colors.

Rating:
Summary: Looking beyond the facade of perfection.
Review: Julianne Moore, in "Far From Heaven," plays a Donna Reed clone named Cathy Whitaker who strives to please 24/7. She is always impeccably made up and beautifully dressed. Her home is an interior designer's dream. She has many lady friends with whom she lunches and does charity work. Cathy embodies the stereotype of the perfect fifties housewife: a woman with a lovely home, two adorable children and a devoted, hard-working husband.

Unfortunately, there is trouble in Utopia. Cathy's husband, Frank, is rarely home; he often "works late" at the office. When he is home, Frank is increasingly irritable and sometimes drunk. As her husband's behavior deteriorates, Cathy refuses to recognize that her life is about to crumble. Only when she discovers a horrifying secret about Frank does Cathy's unflappable demeanor begin to crack. In desperation, she turns to her black gardener, Raymond, (played by a gentle Dennis Haysbert) for comfort and understanding. Unfortunately, Cathy's and Raymond's relationship unleashes an ugly torrent of racial hatred from both the white and black residents of this bigoted Connecticut town.

Todd Haynes does more than pay homage to the melodramatic movies of the fifties. He also dissects the hypocrisy, sexism and racism that have always been present just beneath the surface in America. Julianne Moore is marvelous as a porcelain beauty who discovers that a big smile and denial can get you just so far in life. She is forced to face some harsh realities that will change her world forever. Adding to the mood of "Far From Heaven" are Edward Lachman's gorgeous cinematography and Elmer Bernstein's swelling music. I recommend that you see "Far From Heaven." It is a touching and enormously entertaining film.

Rating:
Summary: Challenging societal norms in 1957
Review: Kathy and Frank Whitaker (played by Julianne Moore and Dennis Quaid) live an ideal life in Connecticut in 1957. They live in a picture perfect house with their two school age children and have a fulfilling social life in the local community. Frank has a successful executive job while Kathy is devoted to her husband and children while attending various social functions with other like-minded women.

But soon the viewers learn that looks can be deceiving when both spouses participate in intimate relationships that clash with societal conventions of the era. Frank reveals that he can no longer deny his homosexuality while Kathy struggles with her newly found attraction for a balck man who is her gardener. As word escapes about the truths of the Whitaker family Kathy gets a first hand glimpse into the ignorance and intolerance of their extramarital activities.

I remained captivated throughout the showing of this movie. The acting was very good, especially Julianne Moore. In addition I give much praise for the extreme attention to detail on the set as even the smallest items reflected the late 1950's. My only complaint is the ending, which I won't go into details for obvious reasons. A thoroughly engaging movie!

Rating:
Summary: Stairway to Heaven
Review: "Far from Heaven" is Todd Haynes' homage and attempt to recreate what was called, in the 50's and 60's, a "weepie," a domestic melodrama with all the attendant production values: lush musical score, sumptuous costumes and a heroine with big concerns/problems mostly having to do with Love, Family and usually both. Think "Written on the Wind," "Magnificent Obsession" or "All that Heaven Allows." The problem with this kind of a venture is that in order for it to work it must be handled in a non-ironic, straightforward manner. Haynes's and his actors succeed most but not 100% of the time. The very nature of an enterprise like this calls for a somewhat arch and precise acting technique as we are dealing with a dead genre probably farther removed from our 2002 reality than are Shakespeare's plays.
Like the best of these films, "Far from Heaven" can be unbelievably moving; when we are not only marveling at the gorgeous mise en scene but when the superior acting abilities of the amazing Julianne Moore as Cathy shine through.
Cathy and her husband Frank (Dennis Quaid) lead a tranquil life in Connecticut where beautiful and well-put together Cathy is slowly withering away, being eaten alive by the fact that her perfect life is irrevocably punctured when she catches her husband in the arms of another man. But this is not all. Cathy's natural openness towards everyone she comes across as well as her empathy for other races specifically her African American gardener Raymond (Dennis Haysbert) is also causing gossip among her friends and her neighbors. The outwardly disapproving and disgusted looks on the townspeople's faces when Cathy is with Raymond are laughable in one way but in another really goes to the heart of race relations then as well as now. Has much changed in this regard in the last 44 years?
There is a very poignant scene in which Frank slaps Cathy across the face and Cathy, always the understanding one, reassures him that all is "fine" but then pathetically asks him to bring her some ice to quell the swelling. She tells her friend, Eleonor (Patricia Clarkson): "Frank didn't mean to hit me." Frank, in a kind of homosexual panic, lashes out at Cathy, the one person who loves and accepts him; as well as the one who reminds him on a daily basis that his love for her is a lie. The scene in which Frank asks Cathy for a divorce is a stunner: watch Moore's eyes and body language. Even when her heart seems about to explode, her eyes remain dry, calm and understanding even in this harrowing and unspeakable situation.
So as not to portray her as the ultimate victim, Haynes has smartly imbued Cathy with a strong desire to change from the all accepting, never questioning woman she's been to the strong, independent woman she aches to become. Her heartbreaking attempts to contact the N.A.A.C.P to volunteer are both incredibly naïve yet strongly sympathetic.
Heaven to Cathy Whitaker is a place in which she is always loved, always valued, forever cherished. Nothing could be more basic yet more unattainable whether it be 1958 or 2002.