Rose, is taken in by the Hillyer family to serve as a 1930s housemaid so that she can avoid falling into a life of prostitution. Rose's appearence and personality is such that all men fall for her, and Rose knows it. She can't help herself from getting into trouble with men. "Daddy" Hillier soon grows tired of Rose's rambling ways. Written by
Laura Dern and Diane Ladd's Oscar nominations mark the first time a mother and daughter ever received such an accolade for appearing in the same film. The only other time that a parent and child received acting nominations for the same film was when Henry Fonda and Jane Fonda were both nominated for On Golden Pond (1981). See more »
When Rose is in bed with Buddy, the shot of the two of them shows her left arm being under the covers, and immediately the next shot is a closeup of Rose and her left arm is up and behind her head. See more »
[title: Glennville, Georgia 1971]
In deep Dixieland, the month of October is almost summery.
I had come south to visit my father. Mother had died a few years before, and Daddy was living all alone. He wouldn't have it otherwise.
Looking at that old house, a painful nostalgia gripped me for the south itself, the old south I had known, and the people in it. When I was thirteen years old, a girl came to this house. I overheard my father decide in a conference ...
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In this limp Southern period piece a wholesome young belle with the innocence of an angel and the manners of a whore supposedly disrupts the progressive Georgia household of Robert Duvall and Diane Ladd. The qualifier is necessary, because the film collapses into pure schmaltz almost before the end of the opening credits. The clumsy voice-over introduction by John Heard and the flashback (almost on cue) to his halcyon youth give fair warning to what kind of film this will be: safe, calculated, all-too polite, and adapted for the screen by a novelist obviously attached to his own words. The casting is attractive, but no one is given much of a character to work with. The title role gives Laura Dern a vehicle for some overripe histrionics, but despite her promiscuity Rose is simply one saint in a family of saints, and every conflict quickly disappears to allow them all a chance to live happily ever after (Rose is even spared the consequences of her constant, physical 'search for affection' by a convenient inability to bear children). In the end it might just be the perfect diversion for people who thought 'Driving Miss Daisy' too controversial and inflammatory.
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