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 man coping with the institutionalization of his wife because of Alzheimer's disease faces an epiphany when she transfers her affections to another man, Aubrey, a wheelchair-bound mute who also is a patient at the nursing home.
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations in suburban Connecticut.
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.
With a job traveling around the country firing people, Ryan Bingham enjoys his life living out of a suitcase, but finds that lifestyle threatened by the presence of a new hire and a potential love interest.
Cathy is the perfect 50s housewife, living the perfect 50s life: healthy kids, successful husband, social prominence. Then one night she surprises 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 <email@example.com>
Other considered titles for this film were "This Splendid Life", "Circles In The Sun", "The Surface Of Things", and "Fall From Splendor". See more »
When Cathy meets Raymond the first time outside her house, she is up on the porch and he is down a few steps below in the yard. He tells her his father has died and she reaches down and puts her hand on his shoulder. The scene cuts to a view from inside the house and through the window you can see that Cathy and Raymond are now at eye level with Cathy's arm stretched straight outward to Raymond's shoulder. Cut back to the scene outside and Cathy is back to being above him with her arm reaching downward. See more »
I've learned my lesson about mixing in other worlds. I've seen the sparks fly. All kinds.
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I knew I was in trouble when I saw those rear fender skirts on the 1955 Buick Special Estate Wagon in the opening scene. This languid, heavy melodrama began to get on my nerves at once. As a re-creation of a style of film-making that relied on imitating what was already a tendentious imitation in its own time, this is what the cliché "trainwreck in slow motion" is all about. Lovely and beautiful in its own way, it nevertheless comes across for anyone over the age of fifty more as a curiosity than a work of art.
Melodrama relies greatly on self-reference, and this one has it in spades (Oops!). Everything is so obvious and banal to those of us who lived through the time in question that we can only laugh at Director Haynes as he waxes ecstatic about how marvelous and evocative of the 1950's were those old films of Director Sirk. The irony of his comments in the DVD package I viewed -- as images of old Rock Hudson and Jane Wyman movies played across the screen -- was entirely lost. Background scenes of the Little Rock episode in 1957 are displayed not as actual advances in human awareness affecting decades of a real social struggle, but as quirky takes on some notion that the 1950's exists only in a time warp. Stereotypes of stereotypes.
Julianne Moore floats grandly through her role, as always. And Quaid is predictably stolid -- no Rock Hudson, he. The rest of the cast speak their lines equally tongue-in-cheek, and New Jersey posing as Connecticut in Autumn (or is it Spring?) passes.
Seriously, I never saw in real life ANY Buick with fender skirts.
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