Rose, is taken in by the Hillyer family to serve as a 1930s housemaid so that she can avoid falling into a life of prostitution. Rose's appearence and personality is such that all men fall ... See full summary »
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Sully is a rascally ne'er-do-well approaching retirement age. While he is pressing a worker's compensation suit for a bad knee, he secretly works for his nemesis, Carl, and flirts with ... See full summary »
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Rose, is taken in by the Hillyer family to serve as a 1930s housemaid so that she can avoid falling into a life of prostitution. Rose's appearence and personality is such that all men fall for her, and Rose knows it. She can't help herself from getting into trouble with men. "Daddy" Hillier soon grows tired of Rose's rambling ways. Written by
Producer Renny Harlin originally wanted to direct also, but director Martha Coolidge had done so much work already that Harlin stayed only as producer, but was on the set all time. See more »
When Rose is in bed with Buddy, the shot of the two of them shows her left arm being under the covers, and immediately the next shot is a closeup of Rose and her left arm is up and behind her head. See more »
[title: Glennville, Georgia 1971]
In deep Dixieland, the month of October is almost summery.
I had come south to visit my father. Mother had died a few years before, and Daddy was living all alone. He wouldn't have it otherwise.
Looking at that old house, a painful nostalgia gripped me for the south itself, the old south I had known, and the people in it. When I was thirteen years old, a girl came to this house. I overheard my father decide in a conference ...
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An ingénue nymphomaniac's turbulent life rooted in the 1930s depression period of southern USA, served as a housemaid in a hotel owner's home, our heroine Rose, an uncultured but stalwart gal whose miserable past is the hidden wound cuts her deep and being unaware of her sex-addicted disposition, her path of looking for Mr. Right is rather bumpy and poignant.
The film is narrated by Buddy, the eldest son of the hotel owner, Rose is his first love and always occupies a special place in his heart. Although Rose is the potent pillar of the film, female director Martha Coolidge has steadily integrates a handful of equally vivid characters (young Buddy, his Daddy and Mother) into a moderate template of chanelling and rescuing Rose from her self-destructive hazard, despite of wanting any laudable gambits in highlighting the narrative skills and the plot is always stuck into a hoary frivolousness, the complete work is at best satisfactory.
The film is noteworthy by setting a record in the history of the academy by virtue of a real mother-daughter pair garners two Oscar nominations in the same film, Dern and Ladd (a second collaboration in a film after Lynch's WILD AT HEART 1990, 7/10) both showcase their stunning acting bent. Dern has nailed a quite innately delicate role since Rose is the damaged goods by nature, but her pure kindness and innocence hasn't been impaired and her female vulnerability is the real gem under the circumstance, even if she would mature gracefully later and give a more challenging and nail-biting performance in Lynch's INLAND EMPIRE (2006, 7/10), this film is among the crests of her filmography nonetheless. Ladd, after the pompous and lavish turn in WILD AT HEART, unexpectedly chooses a more positive and orthodox good-lady embodiment, her award-worthy moment confidently present itself in the latter part of the film, and single- handedly salvaging Rose from the misogyny from seedy male-predominance. But Duvall is also glittering in his category-fraud (I put him in leading) portrait of a man who is much wiser than he initially appears, and a juvenile Lukas Haas, almost being provocative while driven by curious sex impulse to take advantage of Rose, which might be the most contentious segment of the film per se, and at least he acts like a pro.
My final conclusion is that regardless of its maternal inclination of female-skewing demography, it is indeed a thespian playing field with decent fodder.
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