When Lucy Honeychurch and chaperone Charlotte Bartlett find themselves in Florence with rooms without views, fellow guests Mr Emerson and son George step in to remedy the situation. Meeting... See full summary »
Helena Bonham Carter,
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations in suburban Connecticut.
Society scion Newland Archer is engaged to May Welland, but his well-ordered life is upset when he meets May's unconventional cousin, the Countess Olenska. At first, Newland becomes a defender of the Countess, whose separation from her abusive husband makes her a social outcast in the restrictive high society of late-19th Century New York, but he finds in her a companion spirit and they fall in love. Written by
Marg Baskin <firstname.lastname@example.org>
When Newland is sitting outside Ellen's apartment waiting for his son, the butler closes the window. As he does so, the window catches the bright sun several times and is reflected on Newland's face. As he walks away, the sun is obviously (by shadows) coming from the opposite direction thus it would be impossible for it to be reflected by the window. See more »
Not being a particular fan of Edith Wharton, I was in no hurry to see this movie, but wanted to see what Scorsese & Day-Lewis did with it. I was absolutely floored! I think that, cinematically, it is the best picture Scorsese's done since Raging Bull. Beautiful & brilliant. I even thought that some scenes, particularly the dinners, were slightly reminiscent of Kubrick.
I thought Michelle Pfeiffer was absolutely superb. I don't follow her work much, but of what I do know, I find this to be her best - and most serious - performance to date. I was somewhat disappointed in Daniel Day-Lewis who I otherwise love to watch. I felt his performance was uneven. When he was "on", he was on, but at times his performance was stilted and even melodramatic which jarred his credibility. Wynona did a terrific job of portraying covert deviousness with a blank and/or airhead facade.
But what shone above all the acting was Scorsese's paintbrush. I'm so happy to see that he's still got it in him.
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