A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
In 1951, Laura Brown, a pregnant housewife, is planning a party for her husband, but she can't stop reading the novel 'Mrs. Dalloway'. Clarissa Vaughn, a modern woman living in present times is throwing a party for her friend Richard, a famous author dying of AIDS. These two stories are simultaneously linked to the work and life of Virginia Woolf, who's writing the novel mentioned before. Written by
Jonas Reinartz <firstname.lastname@example.org>
Leonard Woolf's dash from the house in Richmond, leading up to the railway station scene took him through St John's Churchyard and Sutton Place in Hackney, London (14 miles) to Loughborough (114 miles), all in the space of a minute of screen time. A 10 second dash through Sutton Place took the best part of day's filming with several antique vehicles parked in the resident's parking bays; a handful of costumed pedestrians; plastic antique covers for concrete lamp posts and lots of sticky black tape to cover door bells and other modern door furniture. As he races past we see several Georgian houses with original, and quite rare sash window shutters. Sutton Place was a good choice as a uniform terrace of houses still bearing features of yesteryear. See more »
When Louis Waters visits Clarrisa Vaughn, she gives him water with ice and a lemon, in later shots you see neither a lemon or ice, and later you see just a lemon and no ice. See more »
[Narrating the letter]
Dearest, I feel certain that I am going mad again. I feel I can't go through another one of these terrible times and I shant recover this time. I begin to hear voices and can't concentrate. So, I am doing what seems to be the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I know that I am spoiling your life and without me you could work and you will, I know. You see I can't even write ...
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The WORST movie of 2002, this film is politically correct nonsense for the NOW crowd. If you identify with NOW--as most of the people on the Oscar nomination committee apparently do--you will LOVE this film. Stop reading and rent it now. Otherwise, let the Hollywood crowd congratulate themselves, save two hours of your life, and skip this celluloid stinker.
To set the stage: The film opens with three depressed lesbians (one "out", two not "out"). They are in a tizzy about, well, basically nothing. They spend the majority of the film moping around their homes whining about their relatively easy lives. (Think about how others were living in the world during these periods in history--each one of these women lives a comparative life of luxury.) One of them actually has the unbearable burden of a single (1, one, uno) well-behaved child to raise! Poor dear.
In one particularly disgusting incestuous scene a repressed 1920s lesbian forcibly locks lips with her non-lesbian 50-something sister. (The first woman is one of the "heroines" of the film.) Another "heroine" in this group ends up abandoning her family and ruining their lives, however we are expected to feel sorry for her. Sure. If this JACKASS had been a man, he would have been soundly--and rightly--demonized. But this is feminist cinema, so we can't be that politically incorrect, can we?
Other scenes glorify "noble" suicide. Jack Kevorkian himself could not have done a better job. WARNING: DO NOT let your depressed teen watch this film. You may be profoundly sorry.
The only good thing about this film is the interesting time-shifting transition that occurs between scenes. The effect is quite well done--frankly, the best I've ever seen. But that can't save this otherwise ROTTING PILE OF POLITICALLY CORRECT TRIPE.
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