Mildred brings a sample of her pies into the diner and they're a big hit with the customers. Soon she gets an order for 35 pies a week and the orders start to pile up from other restaurants as well. ...
After her youngest daughter's funeral, Mildred concentrates on opening her new restaurant. Opening night is a smashing success and even Veda seems to approve. It's all a little too busy for a first ...
Glendale, California, 1931: Mildred Pierce, a young mother with a talent for baking, is left a "grass widow" after throwing her husband, Bert, out of the house. Forced to hunt for work to support herself and her two young daughters, 11-year-old Veda and seven-year-old Ray, Mildred visits an employment agency, only to encounter job opportunities she feels are beneath her. Amidst her job search, she receives dating advice from her friend and neighbor, Lucy Gessler, and begins an unexpected affair with an ex-business partner of her husband's, Wally Burgan. When Mildred receives a call from the agency regarding an opening as a housekeeper to a wealthy socialite, she reluctantly agrees to meet with her. After cutting the acerbic interview short, Mildred seeks refuge at a local diner, Cristofor's Café, where fate, and a waitress named Ida, will play a role in shaping her future. Written by
During the DVD commentary, director Todd Haynes mentions that while on the set of this movie, Kate Winslet told Guy Pearce that he had been one of her biggest crushes when she was a teenager in the UK and he had a role on the long-running Australian soap opera Neighbours (1985). See more »
Even at the extended length this is a mere patch on the classic Joan Crawford noir. Kate Winslet is a great actress, assuredly a more accomplished thespian than Crawford but the part fit Joan like a glove but by hewing so close to the novel this refocuses the drama in too many directions and loses the impact of any of them. Another problem is the part of Veda. The casting of two actresses minimizes the impact of the role for a start and the portrayals of both actresses while not bad can not possibly compete with the cancerous, psychopathic venality of Ann Blyth's pit viper in the original. It's bandbox pretty in the attention to detail of the sets but overall lacking a certain something...glamour? a proper consistent mood? to make it compelling that the Crawford film pulled off effortlessly.
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