Michael Cunningham's brilliantly insightful novel makes a flawless transfer to the screen. Nicole Kidman (possibly in the role of her career) is Ms. Virginia Woolf (prosthetic nose and all) writing her immortal MRS. DALLOWAY which Julianne Moore's Laura Brown is thoroughly absorbed in, circa 1951; the incomparable Meryl Streep is Clarissa Vaughn, a lesbian living in the present day (2001) with her live-in lover Sally (Allison Janney) in New York while taking care of her AIDS-ridden best friend Richard (Ed Harris). The plot revolves around one day in each of their lives in which the crux of their entire life unfolds forever altering their entire outlook on their personal lives.
Meryl's homosexuality is very subtle to the point where you think her lover is her best friend... until the end of the film when Meryl give her this huge, wet kiss. Julianne's Laura Brown, on the outside, is the epitome of the ideal '50s wife/mother but on the inside she's like an Oprah trying to find inner peace with herself, unfortunately with extremely devastating results.
While Meryl does have the most on-screen time Kidman steals the show... the viewer becomes more engrossed in her half of the story while Moore's half is thoroughly depressed and Streep's is teetering on the brink of a nervous breakdown, but still holding a tight grasp on the audiences attention span.
The story makes sense in every aspect where you don't feel like the screenwriter is mentally trying to confuse you with the jumping back and forth between eras. The script, score, Streep, Kidman, direction and the film itself will definitely be nominated for Oscars next month.
Meryl's homosexuality is very subtle to the point where you think her lover is her best friend... until the end of the film when Meryl give her this huge, wet kiss. Julianne's Laura Brown, on the outside, is the epitome of the ideal '50s wife/mother but on the inside she's like an Oprah trying to find inner peace with herself, unfortunately with extremely devastating results.
While Meryl does have the most on-screen time Kidman steals the show... the viewer becomes more engrossed in her half of the story while Moore's half is thoroughly depressed and Streep's is teetering on the brink of a nervous breakdown, but still holding a tight grasp on the audiences attention span.
The story makes sense in every aspect where you don't feel like the screenwriter is mentally trying to confuse you with the jumping back and forth between eras. The script, score, Streep, Kidman, direction and the film itself will definitely be nominated for Oscars next month.