An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
Richard E. Grant
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.
In 1951, Laura Brown, a pregnant housewife, is planning a party for her husband, but she can't stop reading the novel 'Mrs. Dalloway'. Clarissa Vaughn, a modern woman living in present times is throwing a party for her friend Richard, a famous author dying of AIDS. These two stories are simultaneously linked to the work and life of Virginia Woolf, who's writing the novel mentioned before. Written by
Jonas Reinartz <email@example.com>
During the editing stages, producer Scott Rudin received a call from author Michael Cunningham requesting to see some of the footage. Cunningham's mother (on whom the character Laura Brown was originally based) was entering into the final stages of terminal cancer and Cunningham dearly wanted his dying mother to see something he had written committed to film. Rudin hastily assembled 20 minutes of footage and had it sent over to the Cunninghams. See more »
The WORST movie of 2002, this film is politically correct nonsense for the NOW crowd. If you identify with NOW--as most of the people on the Oscar nomination committee apparently do--you will LOVE this film. Stop reading and rent it now. Otherwise, let the Hollywood crowd congratulate themselves, save two hours of your life, and skip this celluloid stinker.
To set the stage: The film opens with three depressed lesbians (one "out", two not "out"). They are in a tizzy about, well, basically nothing. They spend the majority of the film moping around their homes whining about their relatively easy lives. (Think about how others were living in the world during these periods in history--each one of these women lives a comparative life of luxury.) One of them actually has the unbearable burden of a single (1, one, uno) well-behaved child to raise! Poor dear.
In one particularly disgusting incestuous scene a repressed 1920s lesbian forcibly locks lips with her non-lesbian 50-something sister. (The first woman is one of the "heroines" of the film.) Another "heroine" in this group ends up abandoning her family and ruining their lives, however we are expected to feel sorry for her. Sure. If this JACKASS had been a man, he would have been soundly--and rightly--demonized. But this is feminist cinema, so we can't be that politically incorrect, can we?
Other scenes glorify "noble" suicide. Jack Kevorkian himself could not have done a better job. WARNING: DO NOT let your depressed teen watch this film. You may be profoundly sorry.
The only good thing about this film is the interesting time-shifting transition that occurs between scenes. The effect is quite well done--frankly, the best I've ever seen. But that can't save this otherwise ROTTING PILE OF POLITICALLY CORRECT TRIPE.
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