A woman's lover leaves her, and she tries to contact him to find out why he's left. She confronts his wife and son, who are as clueless as she. Meanwhile her girlfriend is afraid the police... See full summary »
Evelyn Couch is having trouble in her marriage, and no one seems to take her seriously. While in a nursing home visiting relatives, she meets Ninny Threadgoode, an outgoing old woman, who tells her the story of Idgie Threadgoode, a young woman in 1920's Alabama. Through Idgie's inspiring life, Evelyn learns to be more assertive and builds a lasting friendship of her own with Ninny. Written by
When Ninnie is voicing the story of Ruth's cancer, she states that Ruth is moved to the Threadgoode house and placed downstairs. The following scenes indicate that Ruth is in an upstairs bedroom, as we see Idgie looking out the window, and looking down at the kids playing ball, and we see the tops of trees when Sipsey prepares the medications. See more »
I never get mad, Miss Threadgoode, never, the way I was raised, it was bad manners. Well I got mad, and it felt great. I felt like I could just beat the shit out of all those punks! Excuse my language. And then when I finish with those punks, I'll take on all the wife beaters like Frank Bennett, machine gun their genitals,
[imitates machine gun]
Towanda will go on a rampage, I'll slip tiny bombs into Penthouse and Playboys so they explode when you open them. I'll ban ...
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Consummate story-telling, served well by superlative performances
Fannie Flagg's novel of immense complexity (huge cast and innumerable separate stories) could have been impossible to film. However, it is made possible, in large part, by the performances of Mary Stuart Masterson and Mary Louise Parker in what should have been billed as the lead roles. They play the two southern women who's joint story this movie revolves around. Jessica Tandy's role is to relate the story to a lost and longing Kathy Bates (in modern times). Director Jon Avnet ties the two together nicely at times, awkwardly at times, but always (except the end) without doing damage to either. He (and the production crew) bring to life a 'peaceful' southern town very nicely.
The two Marys manage to convey the fullness of a complex relationship with apparent ease. There on-screen chemistry is nothing short of dazzling, and one is left wondering when and how these two actresses carved out such detailed characters without giving voice to their motivations and feelings. While it is rare that dialogue directly addresses the heart and nature of their relationship, what that is becomes clear quickly and transcends the plot of the story to become the real unifying element in this movie. That neither was recognized (in the conventional way) for their performances is unfortunate (which is an understatement).
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