On a rainy London night in 1946, novelist Maurice Bendrix has a chance meeting with Henry Miles, husband of his ex-mistress Sarah, who abruptly ended their affair two years before. ... See full summary »
A mute woman along with her young daughter, and her prized piano, are sent to 1850s New Zealand for an arranged marriage to a wealthy landowner, and she's soon lusted after by a local worker on the plantation.
Connie, an aging Bohemian photographer, meets mousy Harper, headed for Harvard Law from a high-powered San Francisco family, and immediately sees her beauty. He also guesses she has talent and invites her to be his pupil and share his bed. He's Alfred Stieglitz, she's Georgia O'Keefe, and he calls her his Guinevere. When she realizes she's the latest Guinevere in a string of ingenues, she bolts, only to return, sick of her family. She's blossoming, reading, learning, but hasn't yet taken her first photograph when he tells her they're going to L.A., broke, him drinking too much, to sell some photographs. On the trip, she finally snaps the shutter; so does her awe and dependence. Written by
During the non-union shoot in San Francisco, crew members struck and were joined by star 'Sarah Polley', who walked the picket line. Striking crew members report that they were quite touched by her action, which was more than a gesture, but rather a sincere belief in workers' rights. On her part, Polley called her union, the Screen Actors Guild, to tell them of her action, and the union representative told her they'd back her if she crossed the picket line. SAG assumed that she was calling to ask whether she could defy the strike and cross the picket line! A shocked and dismayed Polley stayed out with the strikers, and the strike ended after three days when their grievances were met. Subsequently, Polley has stated that she has been told that she lost several job offers due to this incident as producers don't want a union 'militant' despite the film industry being a craft industry dominated by the guild (union) system and she did what she felt was right. See more »
The wet spots on Harper's shirt after taking a shower. See more »
These photographs of me were taken when I was 21 years old. They were shot on Plus X with a 105-mm lens on a Nikon F-2, developed normal, two stops overexposed. I like this one a lot. The F-2 was lost forever to a pawn shop in Los Angeles four years ago. The photographer lived in San Francisco up until last week. He was the worst man I ever met, or maybe the best, I'm still not sure. If you're supposed to learn by your mistakes, then he was the best mistake I ever made. He was my ...
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Guinevere: Harper Sloane (Sarah Pollack) is a painfully shy young woman trapped in a household of lawyers lorded over by an alpha-mother (Jean Smart) who treats her like a servant. Destined to attend Harvard law school and join the pack, Harper finds her salvation in Connor Fitzgerald (Steven Rea), part-time photographer/philosopher, full-time con-man Svengali. Connor actually listens to what she says and offers her escape into an exciting bohemian lifestyle. Will he be her salvation or downfall? There are shades of Leaving Las Vegas in this film - it is dark and at times unpleasant - one scene in particular made me so uncomfortable I turned away from the screen. To its credit, Guinevere, like Leaving Las Vegas, is also a very good film. Sarah Pollack is outstanding as the withdrawn Harper (in stark contrast to her brazen, street-wise savvy Ronna in Go!). Although she's actually twenty, she looks fifteen, which helps to convey a believable vulnerability and transformation.
Rea is truly manipulative as Connor, more pathetic than sinister, who preys on young women - you're never quite sure if you should loathe or pity him. Finally, Jean Smart does an excellent job as the hard-as-nails matriarch, miles away from her smarmy character on Designing Women.
Well worth the price of admission.
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