7.4/10
38,526
381 user 184 critic

Far from Heaven (2002)

PG-13 | | Drama, Romance | 10 January 2003 (USA)
In 1950s Connecticut, a housewife faces a marital crisis and mounting racial tensions in the outside world.

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Nominated for 4 Oscars. Another 101 wins & 91 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Dr. Bowman
Bette Henritze ...
Mrs. Leacock
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Sarah Deagan (as Jordan Puryear)
Kyle Timothy Smith ...
Billy Hutchinson (as Kyle Smyth)
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Mona Lauder
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Doreen
Olivia Birkelund ...
Nancy
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Storyline

Cathy is the perfect 50s housewife, living the perfect 50s life: healthy kids, successful husband, social prominence. Then one night she stumbles in on her husband Frank, kissing another man, and her tidy world starts spinning out of control. In her confusion and grief, she finds consolation in the friendship of their African-American gardener, Raymond - a socially taboo relationship that leads to the further disintegration of life as she knew it. Despite Cathy and Frank's struggle to keep their marriage afloat, the reality of his homosexuality and her feelings for Raymond open a painful, if more honest, chapter in their lives. Written by Jonas A. Reinartz <jonas.reinartz@web.de>

Plot Summary | Add Synopsis

Taglines:

What imprisons desires of the heart? See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for mature thematic elements, sexual content, brief violence and language | See all certifications »

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Details

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Release Date:

10 January 2003 (USA)  »

Also Known As:

Dem Himmel so fern  »

Filming Locations:

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Box Office

Budget:

$13,500,000 (estimated)

Opening Weekend:

$211,279 (USA) (10 November 2002)

Gross:

$15,854,988 (USA) (6 April 2003)
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Technical Specs

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Second in the poll for FIPRESCI GRAND PRIX OF THE YEAR 2003. See more »

Goofs

When Cathy is shown from behind ascending the stairs into Dr. Bowman's building, she has a hat pin in her hat. When she is shown leaving the building after her husband's appointment, there is no hat pin. See more »

Quotes

[Studying a Miró painting]
Raymond Deagan: So, what's your opinion on modern art?
Cathy Whitaker: It's hard to put into words, really. I just know what I care for and what I don't. Like this... I don't know how to pronounce it... Mira?
Raymond Deagan: Miró.
Cathy Whitaker: Miró. I don't know why, but I just adore it. The feeling it gives. I know that sounds terribly vague.
Raymond Deagan: No. No, actually, it confirms something I've always wondered about modern art. Abstract art.
Cathy Whitaker: What's that?
Raymond Deagan: That perhaps it's just picking up where religious art left off, somehow trying to ...
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Crazy Credits

The first end credit reads "for Bompi" See more »

Connections

Featured in Hollywood's Top Ten: Dennis Quaid Movies (2011) See more »

Soundtracks

Eagan's Jukebox
Composed by Max Avery Lichtenstein (as Max Lichtenstein)
Performed by Camphor
Courtesy of Tin Drum Recordings
Published by Departure Music Publishing (ASCAP)
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User Reviews

breaking free
13 April 2003 | by See all my reviews

While certainly this film is about race and sexual preference, I think its observations are actually much more universal. What it is about - and so many of the movies it references are also about - is how social structures work hard to prevent you from stepping outside your little world. People work hard to control attitudes towards outsiders - in this case, black people and homosexuals - in a negative way that not only keeps them out, but also keeps you in. Many people just don't like it when you seek something from the outside and will be manipulative to keep it so. Witness Patricia Clarkson, who is so manipulative that she has to remind Jualianne Moore how old and dear friends they - oldest and dearest - in such a way that it is a threat more than a comfort. And the film does this within the conventions of the genre it is putting itself in. In many ways, it merely uses the tawdry, cliched imagery of Hollywood soapers in such a way that, if you are not familiar, they may appear to be cliches here. But they are very intentional. And in this way, everything is controlled about the film - reactions, colors, everything. No wonder the characters need to break out of their worlds.


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