A drama exploring the romantic past and emotional present of Ann Grant and her daughters, Constance and Nina. As Ann lays dying, she remembers, and is moved to convey to her daughters, the defining moments in her life 50 years prior, when she was a young woman. Harris is the man Ann loves in the 1950s and never forgets.
Chile, second half of the 20th century. The poor Esteban marries Clara and they get a daughter, Blanca. Esteban works hard and eventually gets money to buy a hacienda, eventually to become ... See full summary »
Maria Conchita Alonso
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 ... See full summary »
Substance-addicted Hollywood actress Suzanne Vale is on the skids. After a spell at a detox centre her film company insists as a condition of continuing to employ her that she live with her... 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:
Does Mr. Evans ever wonder how Christina cloths and feeds Michael? Does he ask her? Does Mr. Evans care? Beasts in fields have more concern for their young than that creature has.
Agnes 'Aggie' Mundy:
Do you ever listen to yourself, Kate? You are such a damned righteous bitch! And his name is Gerry. Gerry. Gerry!
[Storms out of room]
Kate 'Kit' Mundy:
Don't I know his name is Gerry. What have I been calling him? Saint Patrick?
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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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