Sadie is desperately looking up to her older sister Georgia who is a famous C&W artist. Sadie wants to be a famous artist like her sister, but is always doing everything wrong. Her ...
See full summary »
Dorothy Parker remembers the heyday of the Algonquin Round Table, a circle of friends whose barbed wit, like hers, was fueled by alcohol and flirted with despair.
Director:
Alan Rudolph
Stars:
Jennifer Jason Leigh,
Campbell Scott,
Matthew Broderick
Catherine Sloper has found the man of her dreams in Morris Townsend, but her plans to marry him are strongly opposed by her father, who believes Townsend is only interested in his daughter ... See full summary »
Director:
Agnieszka Holland
Stars:
Jennifer Jason Leigh,
Albert Finney,
Maggie Smith
Set in Brooklyn during the 1950s against a backdrop of union corruption and violence. A prostitute falls in love with one of her customers. Also a disturbed man discovers that he is homosexual.
Director:
Uli Edel
Stars:
Jennifer Jason Leigh,
Stephen Lang,
Burt Young
Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Director:
Noah Baumbach
Stars:
Nicole Kidman,
Jennifer Jason Leigh,
Flora Cross
A New York philosophy grad student turns into a vampire after getting bitten by one, and then tries to come to terms with her new lifestyle and frequent craving for human blood.
Director:
Abel Ferrara
Stars:
Lili Taylor,
Christopher Walken,
Annabella Sciorra
Frau Kusters is preparing dinner late one seemingly ordinary afternoon in her seemingly ordinary kitchen in Frankfurt, Germany. Mrs. Kusters wants to add canned sausages to the stew, her ... See full summary »
Director:
Rainer Werner Fassbinder
Stars:
Brigitte Mira,
Ingrid Caven,
Margit Carstensen
Hideous Kinky is the story of two sisters (seven and five years old) traveling with their hippie mother from London to Morocco. They encounter many adventures, new experiences, and ... See full summary »
Sadie is desperately looking up to her older sister Georgia who is a famous C&W artist. Sadie wants to be a famous artist like her sister, but is always doing everything wrong. Her desperate need to be accepted by her sister is constantly complicated by her drug and alcohol problems. Georgia lives a very ordered life with husband, house and children, and Sadie does everything to get her attention.Written by
<Magnus.Salomonsson.3041@student.uu.se>
After The Silence of the Lambs (1991) became a resounding success in 1991, Ted Levine, who played a serial killer in the film, became typecast as a villain by casting directors. It was Jennifer Jason Leigh who convinced the director of this film that he could portray a stay-at-home dad supporting his wife. Levine says he is now forever grateful for Leigh's belief in his versatility. See more »
Goofs
(at around 6 mins) Bobby's right hand is on, then off, his water glass. See more »
Quotes
Georgia:
I don't want to know what you do locked away in that bathroom for half an hour.
See more »
'Georgia' is a strong, sometimes harrowing drama about the relationship between two singing siblings: the eponymous elder sister, an established country-folk star, and the less talented Sadie, who is actually the central character of this film. Jennifer Jason Leigh is in her element as the self-destructive, self-loathing Sadie, and delivers perhaps her finest performance; but Mare Willingham is also good in the subtler role of Georgia, a woman whose capacity to feel compassion has been tested to the limit, and which only survives when focused through a prism of superiority. Georgia is instinctively careful with words but Sadie compulsively goads her into betraying these instincts; the telling dialogues between them are constructed with a deadly precision, the high points of a generally excellent screenplay. What's also surprising is that the music is also good. In any film about art, a central problem for the director is creating a belief in the merits of the fictional work; in 'La Bellie Noiseuse', for example, Jean-Jacques Rivette created an explicit plot justification for not having to show the painting that is the film's centrepiece to his viewers, rather than letting us judge it. By contrast, in this film, Georgia sounds genuinely good, while Sadie veers between downright awful and almost interesting; this allows the film to actually use the music as a means of conveying the narrative of the story. This slows the pace of the film, and if you don't like the types of music played, might be excruciating; but it's interesting to see the (fictional) truth conveyed through the medium of performance.
One of the film's strengths is that it grants us no indulgent fantasies; because of this, the narrative arc is limited (especially as the film is quite long). In some senses, the film resembles other great films about the self-destructive, like 'Five Easy Pieces' or 'Naked'. It's not quite in that class, but it's double-headed structure makes it more reflective, less visceral, but by no means uninteresting. Overall, it's an unjustly neglected work.
5 of 6 people found this review helpful.
Was this review helpful to you?
| Report this
'Georgia' is a strong, sometimes harrowing drama about the relationship between two singing siblings: the eponymous elder sister, an established country-folk star, and the less talented Sadie, who is actually the central character of this film. Jennifer Jason Leigh is in her element as the self-destructive, self-loathing Sadie, and delivers perhaps her finest performance; but Mare Willingham is also good in the subtler role of Georgia, a woman whose capacity to feel compassion has been tested to the limit, and which only survives when focused through a prism of superiority. Georgia is instinctively careful with words but Sadie compulsively goads her into betraying these instincts; the telling dialogues between them are constructed with a deadly precision, the high points of a generally excellent screenplay. What's also surprising is that the music is also good. In any film about art, a central problem for the director is creating a belief in the merits of the fictional work; in 'La Bellie Noiseuse', for example, Jean-Jacques Rivette created an explicit plot justification for not having to show the painting that is the film's centrepiece to his viewers, rather than letting us judge it. By contrast, in this film, Georgia sounds genuinely good, while Sadie veers between downright awful and almost interesting; this allows the film to actually use the music as a means of conveying the narrative of the story. This slows the pace of the film, and if you don't like the types of music played, might be excruciating; but it's interesting to see the (fictional) truth conveyed through the medium of performance.
One of the film's strengths is that it grants us no indulgent fantasies; because of this, the narrative arc is limited (especially as the film is quite long). In some senses, the film resembles other great films about the self-destructive, like 'Five Easy Pieces' or 'Naked'. It's not quite in that class, but it's double-headed structure makes it more reflective, less visceral, but by no means uninteresting. Overall, it's an unjustly neglected work.