It is 1950s Nevada, and Professor Vivian Bell arrives to get a quickie divorce. She's unsatisfied with her marriage, and feels out of place at the ranch she stays on, she finds herself increasingly drawn to Cay Rivers, an open and self-assured lesbian, and the ranchowner's daughter. The emotions released by their developing intimacy, and Vivian's insecurities about her feelings towards Cay, are played out against a backdrop of rocky landscapes and country and western songs.Written by
Neil Lewis <email@example.com>
While the film is set in 1959, the opening scene is of the "Super Chief" rail service pulling into Reno, NV, while in fact it was a service of the Santa Fe railroad at the time, one which did not get anywhere near Reno. Compounding the error the scene mistakenly indicates that the line was operated by the Union Pacific Railroad while the diesel locomotive seen pulling the train into the station at Reno is labeled with the (U.S.) Department of Transportation logo, a federal entity established by an act of Congress on October 15, 1966, and which began operation on April 1, 1967. See more »
I wouldn't know what to do.
You can start by putting the 'Do Not Disturb' sign on the door.
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The US DVD release is 5 minutes shorter than the theatrical version (91 as opposed to 96 minutes). The most noticeable cut is in the sex scene which is slightly briefer than the original. See more »
While awaiting her divorce on a dude ranch outside Reno, a stiff and humorless New York City professor learns to appreciate life from the usual assortment of Silver State oddballs, finally letting her hair down for a young, uninhibited employee of one of the local casinos. It might have been just another routine romantic comedy but for the fact that the two lovers are both women, and the novelty value alone is enough to lift the film out of the ordinary. There's enough charm and offhand humor to match any mainstream, hetero romance, but make no mistake: this movie doesn't regard its lesbianism lightly, and there's an explicit bedroom interlude to prove it. The scene stops the film dead in its tracks, but director Donna Deitch (making her feature debut) has to be commended for approaching the subject with such candor and optimism (some of it a bit forced, to be sure), leaning only slightly on the awkward self-awareness usually found in a Hollywood coming-out story.
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