An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
What Maisie Knew is a contemporary New York City revisioning of the Henry James novel by the same name. It revolves around unwitting 7-year-old Maisie, caught in the middle of a custody battle between her mother Susanna, an aging rock star, and her father, Beale, a major art dealer. Written by
I've read five previously posted reviews of this film and see no reason to repeat what they've already said. I agree, for the most part, with the positive ones. And I suspect the negative ones were written by people whose established taste in movies should have steered them away from seeing this one in the first place.
What I'll add is, I guess, a mostly personal perspective. I've found that I am lately much more drawn to smaller, more deeply felt movies than to bigger, slicker, higher-production-value ones. To "What Maisie Knew," for example, than to "The Great Gatsby." Even though both source novels share a similar interior aesthetic, the treatment in the former stays inside the characters, where James focused the original (thus causing one of the previous reviewers' comments to the effect that "nothing happens" in the movie), while the latter (possibly because of Luhrmann's well-established directorial predilections)stays resolutely focused on the exterior spectacle and barely skims the surface of Fitzgerald's deeply rendered characterizations.
If you like smaller, more closely observed and deeply felt films, you'll like this one.
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