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Evening (2007)

PG-13 | | Drama, Romance | 29 June 2007 (USA)
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A drama exploring the romantic past and emotional present of Ann Grant and her daughters, Constance and Nina. As Ann lays dying, she remembers, and is moved to convey to her daughters, the defining moments in her life 50 years prior, when she was a young woman. Harris is the man Ann loves in the 1950s and never forgets.

Director:

Lajos Koltai

Writers:

Susan Minot (screenplay), Michael Cunningham (screenplay) | 1 more credit »
2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Claire Danes ... Ann Grant
Toni Collette ... Nina Mars
Vanessa Redgrave ... Ann Lord
Patrick Wilson ... Harris Arden
Hugh Dancy ... Buddy Wittenborn
Natasha Richardson ... Constance Haverford
Mamie Gummer ... Lila Wittenborn
Eileen Atkins ... The Night Nurse
Meryl Streep ... Lila Ross
Glenn Close ... Mrs. Wittenborn
Ebon Moss-Bachrach ... Luc
Barry Bostwick ... Mr. Wittenborn
David Furr ... Ralph Haverford
Sarah Clements ... Lizzie Tull (as Sarah Viccellio)
Cheryl Lynn Bowers ... Peach Howze
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Storyline

The love which binds mother and daughter -- seen through the prism of one mother's life as it crests with optimism, navigates a turning point, and ebbs to its close. Overcome by the power of memory, Ann Lord reveals a long-held secret to her concerned daughters; Constance, a content wife and mother, and Nina, a restless single woman. Both are bedside when Ann calls out for the man she loved more than any other. But who is this "Harris," wonder her daughters, and what is he to our mother? While Constance and Nina try to take stock of Ann's life and their own lives, their mother is tended to by a night nurse as she journeys in her mind back to a summer weekend some fifty years before, when she was Ann Grant, a young woman who has come from New York City to be maid of honor at the high-society Newport wedding of her dearest friend from college, Lila Wittenborn. The bride-to-be is jittery, and turns to her maid of honor rather than her own mother for support. Ann stays close to her friend... Written by Focus Features

Plot Summary | Plot Synopsis

Plot Keywords:

gay kiss | friend | love | woman | wedding | See All (100) »

Taglines:

Her greatest secret was her greatest gift. See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some thematic elements, sexual material, a brief accident scene and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | Germany

Language:

English

Release Date:

29 June 2007 (USA) See more »

Also Known As:

Pasión al atardecer See more »

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Box Office

Opening Weekend USA:

$3,501,971, 1 July 2007, Wide Release

Gross USA:

$12,406,646, 29 July 2007
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Keira Knightley was considered for the role of young Ann Grant Lord, but she was filming her last scenes of Pirates of the Caribbean: At World's End (2007) and finishing the shooting of Atonement (2007). See more »

Goofs

Ann points out her star, chosen by Buddy, to Harris as one of the Seven Sisters. The Seven Sisters is the Pleiades, which (in addition to Orion, which is also mentioned) is a winter constellation and could not possibly have been in the sky during the summer, when the wedding took place. See more »

Quotes

Buddy Wittenborn: "Wittgenstein, Schmittgenstein. What's for lunch?"
Mrs. Brown: Just close your eyes and think of a time when you were happy.
See more »

Connections

References Dracula (1931) See more »

Soundtracks

Bridal March
Written by Richard Wagner
Performed by Michael Hankinson
Courtesy of 5 Alarm Music
See more »

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User Reviews

 
Don't expect the book
10 July 2007 | by Tom WhiteSee all my reviews

Since starting to read the book this movie is based on, I'm having mixed feelings about the filmed result. I learned some time ago to see the movie adaptation of a book before I read the book, because I found that if I read the book first I was inevitably disappointed in the film. This would undoubtedly have been true here, whereas in the case of Atonement, which is probably the best filmed adaptation of a book I've ever seen, it would probably not have mattered.

I'm trying to figure out what the cause is, and I suspect that I have to point my finger squarely at Michael Cunningham. Much as I respect him for The Hours (which I have not read but which I saw and was awed by) I cannot escape the feeling that he not so much adapted Susan Minton's book as he did take a few of the characters and the basic premise and write his own movie out of it.

It's not that I dislike the movie. I actually love the movie, which is why, since I started reading the novel, I'm feeling disturbed about the whole thing. I feel disloyal to Ms. Minton for enjoying the movie which was so thooughly a departure from her work. Reading it, I can understand why she had such a struggle adapting it. Unlike what one reviewer of the movie said, it's not so much that some novels don't deserve to be a movie; it's more like some books just can't make the transition. Ms. Minton's novel operates on a level so personal and intimate to her central character, so internally, that it seems impossible to me to place it in a physical realm. Even though a lot of the book is memory of real events, it is memory, and so fragmented and ethereal as to be, I feel, not filmable. I think that Ms. Minton's work is a real work of literature, but cannot make the transition to film, which in no way detracts from its value.

I cannot yet report that Evening, the film, does not represent Evening, the novel, in any more than the most superficial way, since I'm only halfway through, but the original would have to make a tremendous leap to resemble the film that follows at this point. I guess I'm writing this because I feel that if you're going to adapt a novel, adapt it, but don't make it something else that it's not. I'm not sure if Michael Cunningham has done anything wholly original, but from what I can see so far the things he has done are all based on someone else's work. We would not have The Hours if Virginia Woolf had not written Mrs. Dalloway, and we would not have Evening, in its distressed form, if Susan Minton had not had so much trouble doing what probably should not have been attempted in the first place. But it's too much to say that it would be better if Ms. Minton had left well enough alone, because Evening, the film, is a satisfactory and beautiful work of its own.

Thus my confusion, mixed feelings, sense of disloyalty, and ultimate conclusion that, in this case, the novel cannot be the film and vice versa, and my eventual gratitude to both writers for doing what they did, so that we have both works as they are.


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