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
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 <firstname.lastname@example.org>
To achieve the effect of Laura becoming submerged in the hotel room, the set was lowered into a tank of river water. See more »
In the Virginia Woolf segment, Leonard Woolf is shown setting type for their press, Hogarth Press. In fact, Leonard's hands shook so that he could not set type, and it was Virginia who did the typesetting. Virginia found setting type calming, and said that it shaped her feel for words on the page, influencing her approach to writing. See more »
"The Hours" (and I suppose the book on which it is based, although I haven't read it and don't much want to), reduces the vigor and complexity of Woolf's novel to some paean to self-pitying "feelings" about, oh, you know, time, life, all that stuff we're supposed to think is "universal." How about Woolf's meditations on war, gender, and violence in _Mrs. Dalloway_ and the facts (whatever one makes of them) that she was sexually molested as a child, that her suicide took place during another war, and that she and Leonard were on the Gestapo's hit list? Stripping away all the actual material facts of people's lives and times leaves all this relentless emphasis on their supposed "feelings" simply meaningless and manipulative. It's also extremely irritating to have the artist Vanessa Bell reduced to some fluttering mother hen looking with incomprehension at her dotty genius sister Virginia, and to have the real erotic memory at the core of _Mrs Dalloway_, the kiss with Sally, switched to a kiss with Richard, and Sally reduced to the dull spousal role that is Richard's in the novel. But even as a film taken on its own terms this was overdesigned and stupidly pretentious.
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