A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her ...
See full summary »
The story of Karen Silkwood, a metallurgy worker at a plutonium processing plant who was purposefully contaminated, psychologically tortured and possibly murdered to prevent her from exposing blatant worker safety violations at the plant.
During shopping for Christmas, Frank and Molly run into each other. This fleeting short moment will start to change their lives, when they recognize each other months later in the train ... See full summary »
Robert De Niro,
A film is being made of a story, set in 19th century England, about Charles, a biologist who's engaged to be married, but who falls in love with outcast Sarah, whose melancholy makes her leave him after a short, but passionate affair. Anna and Mike, who play the characters of Sarah and Charles, go, during the shooting of the film, through a relationship that runs parallel to that of their characters. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
The film's director Karel Reisz once said of this film: "I admired the novel tremendously from my first reading, but I didn't see how to turn it into a drama. The book has two exceptional qualities as a source for a movie. First, quite simply, it has a wonderful story that centers on the extraordinary character of Sarah Woodruff, a turbulent, passionate spirit who is, so to speak, born into the wrong age. She has some of the visions we associate with the 20th Century, but she was born penniless into the 19th Century. Secondly, the novel is a kind of a game. It tells a Victorian story, but does so from the vantage point of today. Fowles continually invites us to view events with our modern knowledge. He plays with the idea that he is only writing a fiction, and shares some of his problems with us". See more »
Early in the film when Charles takes a horse-drawn carriage to visit Ernestine the horse changes between shots (confirmed by the number of "stocking" feet it has). See more »
I have set myself beyond the pale. I am nothing. I am hardly human any more.
See more »
This film is a joy to watch -- as not many films these days are. The settings are superbly created -- the green, grotto-like woodland where Irons and Streep meet in the Victorian world of the film, the murky streets of Lyme, Exeter, and London, and the interior of the lawyer's office, for example. The Victorian part of the film emerges from the dawning of the concept of abnormal psychology (just before Freud) and is really convincing. Streep shows us that her character cannot move on emotionally until she has worked out her own madness. That constitutes a remarkable and complex performance of insanity and self-awareness inhabiting a single psyche. She earns the gentle movement out of the tunnel and onto the calm lake. The turbulence of the unconscious -- that threatening sea of which Irons has warned her -- has been subdued. Seems to me the flaw lies in the 'modern story' (as some here have pointed out). It may be that the Streep character is trying to find a subtext for her fictional heroine, but it looks like the old ennui, so that, while her lack of concern for the relationship is understandable, his obsession with it is not. Though the garden party at the end almost gets it there. Were we shown her decision there? If so, I missed it. I like the concept of the 'two endings' and their contrast, but the ending in the 20th century was a so what? The one in the 19th century was complex and included much of the pain that the relationship had caused both characters. A little more attention to the contemporary love affair -- to suggest that it was more than just a romp on location -- would have helped that dimension of the film per se and also suggested what the Victorian lovers had earned within their Hardyesque world.
11 of 12 people found this review helpful.
Was this review helpful to you?