Cast overview, first billed only: | |||
Natasha Richardson | ... | Kate | |
Faye Dunaway | ... | Serena Joy | |
Aidan Quinn | ... | Nick | |
Elizabeth McGovern | ... | Moira | |
Victoria Tennant | ... | Aunt Lydia | |
Robert Duvall | ... | Commander | |
Blanche Baker | ... | Ofglen | |
Traci Lind | ... | Ofwarren / Janine | |
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Zoey Wilson | ... | Aunt Helena |
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Kathryn Doby | ... | Aunt Elizabeth |
Reiner Schöne | ... | Luke (as Rainer Schoene) | |
Lucia Hartpeng | ... | Cora | |
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Karma Ibsen Riley | ... | Aunt Sara |
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Lucile McIntyre | ... | Rita |
Gary Bullock | ... | Officer on Bus |
Set in a Fascistic future America, The Handmaid's Tale tells the story of Kate, a handmaid. In this America, the religious right has taken over and gone hog-wild. Kate is a criminal, guilty of the crime of trying to escape from the US, and is sentenced to become a Handmaid. The job of a Handmaid is to bear the children of the man to whom she is assigned. After ruthless group training by Aunt Lydia in the proper way to behave, Kate is assigned as Handmaid to the Commander. Kate is attracted to Nick, the Commander's chauffeur. At the same time, a resistance movement begins to challenge the regime. Written by Reid Gagle
The handmaids in brilliant red, the wives in electric blue, the children in white--Margaret Atwood's neo-fascist state comes startingly alive in Schloendorff's film. The bright colors are oppressive in their uniformity, whether in the "ceremony"--Robert Duvall's passionless copulation with Natasha Richardson as she lies in the lap of his sterile wife, Faye Dunaway--or in the party to celebrate the birth of a handmaid's child, or the execution of another handmaid for fornication. There are several fine actors--Elizabeth McGovern and Aidan Quinn also play memorable, if brief, roles--but the cinematography steals the show here, giving this anti-Utopia the same oppressive tension as the original 1984 and far surpassing any version of Brave New World. It may be that Atwood's book, which I haven't read, adds layers of depth to the characters and plot, but Schloendorff's visualisation is a real enhancement to the tale. He creates the tension of a police state with only momentary intrusions of brutality or machinery. A strong film that will gain its following with time.