Respected liberal Senator Joe Tynan is asked to to lead the opposition to a Supreme Court appointment. It means losing an old friend and fudging principles to make the necessary deals, as ... See full summary »
A young boy tells the story of growing up in a fatherless home with his unmarried mother and four spinster aunts in 1930's Ireland. Each of the five women, different from the other in temperament and capability, is the emotional support system, although at times reluctantly, for each other, with the eldest assuming the role of a 'somewhat meddling' overseer. But then into this comes an elderly brother, a priest too senile to perform his clerical functions, who has "come home to die" after a lifetime in Africa; as well, there also arrives the boy's father, riding up on a motorcycle, only to announce that he's on his way to Spain to fight against Franco. Nevertheless, life goes on for the five sisters, although undeniably affected by the presence of the two men, they continue to cope as a close-knit unit... until something happens that disrupts the very fabric of that cohesiveness beyond repair. Written by
BOB STEBBINS <firstname.lastname@example.org>
The play originally opened in Dublin, Ireland in 1990. It opened on Broadway in New York City, New York, USA on 11 October 1991 and closed on 25 October 1992 after 436 performances. In the cast were Brid Brennan, who originated her role as Agnes and won 1992 Tony award as Best Featured Actress, and Gerard McSorley as the adult Michael, the narrator in the movie. The play also won a 1992 Tony award as best play. See more »
Kate 'Kit' Mundy:
You work hard at your job, you try to keep the home together but suddenly you realize that cracks are formin' everywhere. It's all about to collapse, Maggie. What I'm most worried about is Rose. If I lose my job, if this house is broken up, what'll become of our Rosie?
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A misfiring film. It has a truly exceptional cast and it is a great disappointment that it can't pack the punch that it promises.
My biggest gripe is that we're implicitly promised a big dance set-piece which never materialises. Obviously there is a mitigating dance sequence (which, like all sequences, is well played). The problem is that the family unit needs a sequence where they come, corporately, up against the outside. Whilst the familial tensions, aspirations and fears are played out in a string of scenes revolving around the cottage, the film needs a formal tipping point more critical than the drip-effect of their failing employment.
Meryl Streep has been, arguably, the finest female actor in the world for the past decade and it is a great credit to both her and her co-stars that she doesn't overbalance the ensemble. Despite their absorbing performances it doesn't work though - I'd say a fault of writers Brian Friel and Frank McGuiness. 4/10
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