Rating: 
Summary: Stilted, an exercise in futility.
Review: This, granted, is a meticulous, plush film. Gorgues hue palettes of synapse-singing orange and red permeate every precisely mounted frame, to say nothing of the amount of fifties mise-en-scene, costume and orchestral detail. Fans of affectionate fifties American melodrama (are there any out there?) will relish in the abundant references to Douglas Sirk's films (especially 'All that heaven allows'), and it is impossible not to smile when this film so subtly and subversively makes use of fifties editing staples (love those dissolves). Julianne Moore plays the put upon upper middle class housewife, Dennis Quaid her closet homosexual husband and Dennis Haysbert plays the families' landscaper whom Moore befriends with disasterous consequences (social ostracism from her nattering social aquintances and the same for him from his community). All the topics at hand- homosexuality, interracial love, the oppression of women, all enveloped in the staples of womens pictures of the period (hard drinking, malice, home-wrecking and tearful sacrifice) are handled with the utmost, most straight-faced care by Haynes, not allowing any type of post-modern ('oh really, how quaint!) referents for the audience to titter knowingly at. In fact, the whole project has been pulled off with such aplomb that one feels a little guilty at having to undermine the work , but..... As has been the case with other straight faced re-interpretations (such as the much maligned Gus Van Sant remake of 'Psycho'), the whole film and its contents seem stilted, mannered and aloof. This was certainly the desired effect, and the form/style suits the content perfectly. The film tries to debunk the myths of domestic melodrama's, adding a deeper layer of sexual/ relational meaning unmentionable at the time. Sure. The problem is that this is the only thing the film even tries to achieve. It is a mere novelty, a subjunctive 'what if'. I'm sure that most people are willing to realize that instances of homosexuality, interracial romance, etc did occur in the fifties, that it more often than not ruined careers and social heirarchies and set tongues a wagging, or was simply denied, blanketed or, indeed, remained unmentioned. This is no major epiphany. After a while, the ingeniousness of the (single) idea wears off and all that is left is the films leaden pacing, grating sappiness and the collective symbolism of a fifties melodramas, with all loose ends tied up unambiguously (which is necessary to remain true to form, granted). The result is a resounding 'so what'? Still, this film is a rare beast indeed: a thoughtful, languid, self-reflexively contemplative film made by a Hollywood studio in 2003. A perfect antidote to the sturm and drang of the latest wave of latex-infused CG superhero piffle thrust at audiences at any and every opportunity. This reason alone is not enough to enhance my appreciation of it, though. An impressive DVD, great sound, picture, and a shipload of quality special features, which the film certainly deserves.
Rating: 
Summary: One of the finest movies in recent years
Review: "Far from Heaven" provides a rare glimpse into some of the taboo issues that lay under the surface during the 50's. Unlike much of the muck that is produced by Hollywood these days, this movie presents some very adult themes while avoiding nudity, profanity, or violence. Julianne Moore's performance is certainly extraordinary, but one should not overlook the performances of Dennis Quaid, Dennis Haysbert, Viola Davis, or Patricia Clarkson. Dennis Quaid's versatility as an actor in this movie comes through loud and clear. On one hand, this movie provides a look at life when the average wife was a homemaker and when there was a great sense of community as demonstrated by the gossip and the way people noticed others around them. It also provides a look at the racial boundaries that pervaded that period as well as the sexual taboos that were never really discussed--except in hushed tones. This movie is a reminder that the idyllic life of the 50's that so many yearn for was really an illusion. Many of the same problems that face us today, such as racism and homophobia, were also alive and well and just under the surface during that period of time. As Cathy Whitaker (Julianne Moore) was forced to confront her husband's latent homosexuality, I could not help but wonder how many similarly high-profile executives, like Frank Whitaker (Dennis Quaid), lived a sham life in order to advance in the world of business in the 50's. One thing that makes this movie particularly poignant is the lack of information about human sexuality that was generally available in the 50's and how little someone like Cathy Whitaker would have (or could have) known about something like homosexuality--particularly when the issue strikes at home!
Rating: 
Summary: Bad Movie! Bad!
Review: This movie substitutes pretty costumes and an overabundance of anachronistic, implausible 21st-century PC sensibility in a 50s suburban setting for story and substance. Julianne Moore simpers and poses her way through the dissolution of her marriage to a gay man and ends up in the metaphorical arms of a virile--and not gay--gardener. Oh, the gardener is African-American. And, surprise! Even though he's a manual laborer, he's college-educated. Yeah, right. He takes the prissy Moore to a soul food restaurant and she sits wide-eyed in her immaculate little June Cleaver gloves and has a great time. WHATEVER. This movie would have been a lot better--it might even have been interesting--if it had kept to the story of the husband's coming out and its effect on the family. But Haynes was so keen to throw in a coming out story and an interracial relationship that it's just a lame, boring mess. This is easily one of the 10 worst movies ever made, if only because it's so pretentious and self-important. Ick! Boo! Hiss!
Rating:
Summary: great
Review: another great movie that deserved oscars. i laughed , i cried , heck i enjoyed myself. this is a perfect movie.
Rating:
Summary: A Cosmetic Facade Cracked by Ugly Realtiy
Review: With FAR FROM HEAVEN, writer-director Todd Haynes meticulously recreates the look and conventions of 1950s "domestic drama"--and then subverts it. Like all domestic drama heroines, Cathy Whittaker (Julianne Moore) is a glamorous woman, and the film finds her married to Frank (Dennis Quaid), a rising executive in television sales. They are the perfect 1950s family: they are upwardly mobile, have two children (a boy and a girl, of course), live in an expensive home in an expensive residential district. One evening, Cathy unexpectedly opens a door--and discovers that Frank is unfaithful to her. If this were a Douglas Sirk film starring Lana Turner, Cathy would have found Frank in the arms of another woman and done battle with her to save her marriage. But Frank is in the arms of another man, something that falls completely outside Cathy's frame of reference. Desperate to save her marriage, she encourages Frank to see a psychiatrist; unable to confide in her friends lest she provoke a scandal, she finds solace in the company of her gardener. But he is black--and when their largely innocent friendship is discovered it provokes the very scandal she feared. The themes of homosexuality and racism are merely the most obvious way in which Haynes subverts the genre. More interestingly, Haynes essentially presents us with characters trapped between the stereotypes of 1950s domestic drama and hard reality, and the result is often quite surreal. Time and again the characters respond to harsh reality by resorting to the high-flown dialogue and awkward dollops of social consciousness typical of the genre--and time and again the nature of the film works to highlight how ridiculously unnatural this response is. As the film progresses, it becomes increasingly claustrophobic in feel, and while none can deny that it is homage in form, it becomes metaphor in fact, satirizing and condemning both the artificial social codes of the past and present. Moreover, it works to undercut our selective memory of the 1950s, which we prefer to recall as "Happy Days" but which saw the House Un-American Committee, The Cold War, and the beginnings of everything from racial integration, the gay rights movement, and feminism--and in the face of such issues role models like Lana Turner in her evening gown and Donna Reed with her pearls crack and shatter. The cast is superlative here. Julianne Moore, whose career has been building for the past several years, clearly demonstrates that she is now in the same league with the greatest screen actresses of her generation, playing the role of Cathy Whittaker on so many levels that it has the effect of an emotional Rubik's Cube. Dennis Quaid, best known for playing mischievously macho "bad boy" characters, gives an extremely unexpected and highly charged performance as husband Frank, and both are excellently supported. The script captures every grotesque nuance of the 1950s domestic drama while neatly undermining it at every turn, and the production staff has done a remarkable job of recreating the visual style involved. The cinematography and score are incredibly beautiful, and the director's approach to the project is less homage than it is critical evaluation of those who enjoy such artificial constructs both then and now, both on the screen and off. It is an extraordinary feat, and quite possibly one of the best movies of the past ten years. The DVD package is quite interesting, with three solid documentaries and a good director's commentary. FAR FROM HEAVEN will not be to every one's taste, not by a long shot. Many who liked the 1950s "domestic drama" genre--and many who don't--will not be able to make the leap of perception that Haynes requires, won't be able to shift gears to look at the work with the objectivity necessary. But it is powerful stuff, and I recommend it all the same. --GFT (Amazon Reviewer)--
Rating:
Summary: The film transcends the tale....
Review: Far From Heaven is a beautiful, passionate film. It unfolds with the perfect family life for the Whitakers, just like we always saw on TV shows of the era. It seems as though director Todd Haynes was shooting for that look - that perfect look of the 50's that only really existed in black and white TV. The staging of the utterly perfect home and backdrops is in stark contrast to what is really going on in this family. Nothing prepares wife Cathy (Julianne Moore) for the shocking revelation of her husband's (Dennis Quaid's) dark secret. In exploring that secret, and the feelings that Cathy develops for black gardener Raymond
(Dennis Haysbert from "24"), Haynes shows us that the nostalgic feel we have for the idyllic life of the 50's was very much a sham. Racial divisiveness, bigotry, homophobia and secret dual lives....they all existed, and were covered by a thin veneer of pretense in our society. Because journalists and movie makers were not allowed to portray the seamier side of life, we all think of life in the era as picture perfect, based on the films that WERE made. Haynes doesn't let us keep this illusion, but despite his beautiful imagery, the picture perfect costuming, the score, his pace and his skill with the details in a film, it would all be for naught if he were not working with the caliber of the actors that he drew. Haynes prior efforts are notable but little known, "Safe", "Poison" and "Velvet Goldmine" being the most widely distributed, and he's worked with topics like homophobia and flaunting social mores, as well as with Julianne Moore before. This time he brings out the best in her - and she was my favorite for the Best Actress Oscar. If you can get beyond Moore's ethereal beauty, you'll doubtless recognize the depth she brings to a character. It's true that no one of Cathy Whitaker's background would have probably taken the bull by the horns as openly as she does in her relationship with Raymond,
but Moore plays it believably. We ache for her. Both Quaid and Haysbert give masterful and understated performances - Quaid as a man driven by his needs which he's bottled up successfully inside him, his whole life, and Haysbert, as a man of uncommon dignity, who is forced by society to live in the shadow of his own needs and feelings. The performances and the uncommon beauty of the film will linger with you long after the tale is finished; but don't miss the extra features of the DVD - so much of what makes this an exceptional picture is mapped out for you that the film takes on even more meaning. Far From Heaven - a definite must see!
Rating:
Summary: FAR FROM HEAVEN is heaven on DVD
Review: The joys of cinema are explored in-depth in this movie! From it's Sirk tribute in exquisite production design to the carefully nuanced performances, it's everything a movie-lover could want or ask for. Be warned though - it is made as if it were a 1950s movie, and this means it doesn't move quite as quickly as what modern audiences are used to. The story is simple, but it's telling is complex. Julianne Moore plays the perfect Donna Reed woman of the 1950s, and underneath her perfect family lies a secret that threatens to pull apart her family. She's so distraught and can only find solace in the humble fine presence of her black gardner. This creates a shockwave in the community that has far-reaching implications for 1950s America. The whole affair is shot beautifully as a technicolor dream, and on DVD the colors pop just as they did on the big screen. Also here to savor is a Berstein musical score that becomes its own character in the movie. WOW! It's old-style movie magic. But don't forget the MODERN extras - ANATOMY OF A SCENE, MAKING OF featurette, interview with Todd Haynes and Ms. Moore, and a commentary track! A great value for a great film. 1950s production values, good acting, and lots of extras. This is what DVD was made for!
Rating:
Summary: classic 1950's redux
Review: "Far from Heaven" treads a very thin line between camp and straight drama. The 50's dialog can seem very funny. However, it is the conviction of the leads which sells the movie. Julianne Moore is terrifc as Cathy Whitaker. Dennis Quaid and Dennis Haysbert are teriffic. The topics of racism and homosexuality are handled delicately and honestly. The movie earns its tears honestly. Technically, the movie is beautiful. The autumnal colors will blow you away. Ed Lachman does a wonderful job with the cinematography. Elmer Bernstein's score is divine. Rent this if you want to see the way Hollywood used to make movies
Rating:
Summary: Darned Pretty
Review: Except for the wonderful period costumes and props, the loving lush wide-angle shots of New England fall foliage, and the always expressive features of Julianne Moore and Dennis Haysbert, this is not a good movie. It is five minutes of earnest questioning - can a 1950's housewife in Hartford, Connecticut, depicted here as a hotbed of racial bigotry and craven upper-class strivings, grow her race- and sex-conscious soul? - preceded by a wearisome hour-long build-up and followed by an unsatisfactory resolution. At best a period piece, at worst Hollywood's version of an Eisenhower-era soap opera, "Far From Heaven" never strays from type. Robert E. Olsen
Rating:
Summary: sooooooo sappy!
Review: I'm sorry, but this movie is way overblown. Sure, it has a message. Sure, it's heartfelt. But why should I care! Far From Heaven is overly, even repulsively, sentimental, and the message is a political-correctness cliche. I don't have anything against homosexuals or Afro-americans, but there is way too much sentiment surrounding these issues. I'd much rather read the Boondocks to sympathize with Black power, than sit through this dull flick. It's way too long, it's way too boring, and it's so sappy I could vomit! These movies that try to sympathize with the 50's housewife outlook are just so bland, and this one tops them all. If you want a touching movie, see something less sappy, like the Majestic. Now, I'm sorry for being iconoclastic towards this much-loved film, but honestly: someone had to say it!
|
