It is the fall of 1957. The Whitakers, the very picture of a suburban family, make their home in Hartford, Connecticut. Their daily existences are characterized by carefully observed family etiquette, social events, and an overall desire to keep up with the Joneses. Cathy Whitaker is the homemaker, wife and mother. Frank Whitaker is the...
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It is the fall of 1957. The Whitakers, the very picture of a suburban family, make their home in Hartford, Connecticut. Their daily existences are characterized by carefully observed family etiquette, social events, and an overall desire to keep up with the Joneses. Cathy Whitaker is the homemaker, wife and mother. Frank Whitaker is the breadwinner, husband and father. Together they have the perfect '50s life: healthy kids and social prominence. Then one night, Cathy discovers her husband's secret life and her tidy, insular world starts spinning out of control. Fearing the consequences of revealing her pain and confusion to anyone in her own social circle, she finds unexpected comfort and friendship with her African-American gardener, Raymond Deagan. Cathy's interactions with Raymond; her best friend Eleanor Fine; and her maid, Sybil, reflects the upheaval in her life. Cathy is faced with choices that spur gossip within the community, and change several lives forever.
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A 1950s housewife with a seemingly perfect life sees her orderly world slowly crumble when her husband goes astray and she becomes increasingly attracted to a black man.
Far From Heaven pays homage to the 1950s director Douglas Sirk (Imitation of Life) by defining the women and men of that era and conjuring up characters whose squeaky-clean superficiality hides secret wants and desires simmering underneath. As the story unfolds, Cathy Whitaker (Julianne Moore) lives her life just about as perfectly as she can. A pillar of the community, she takes care of her immaculate home and is devoted to her two children and husband, Frank (Dennis Quaid), a thriving manager at a TV sales company. This is the outer layer of the onion--once we start to peel it back, their flaws and imperfections are found. First of all, Frank is harboring a deep, dark secret that he can no longer suppress (he's--gasp!--gay), which sends the marriage--and Cathy--into a tailspin. She doesn't have anyone to turn to, until she finds a comforting shoulder in her black gardener Raymond (Dennis Haysbert), to whom she finds herself growing more and more attached. Heaven forbid--needless to say, their taboo ''friendship'' is not perceived well in the community. Even her best friend (Patricia Clarkson), a seemingly forward-thinking woman, is riddled with prejudice and cannot understand. Raymond offers Cathy a glimpse into how life can really be lived, without fear of repercussions from society, but alas, the inevitability of their world comes crashing in on them and the two realize their love can never be. Music swells (no, seriously, it does. Again and again), and the credits roll.
Even with the film's over-the-top plot, the truly excellent acting ensemble must be commended for rising above the melodrama. Moore is a vision as Cathy. With her coiffed hair, crinoline skirts and matching jackets, she is a perfect example of the '50s housewife. But Moore's raw talent comes through as the layers are pulled away to expose her inner strength and core. Her husband may leave her for another man, she may get ostracized for loving a black man, but in the end, you know Cathy is going to make it. It's one of those roles actresses dream of, and Moore could finally get her chance at winning Oscar gold this year. Another good Oscar bet is Quaid, who could be looking at his first nomination for his performance as Frank (although he is being touted for his turn in The Rookie as well). Quaid embodies Frank with the cocky attitude prevalent in men of that era and his attempt to cure himself of his ''problem'' is almost too comical. It's a gutsy role for him and he rises to the occasion. Haysbert (24) does a nice job as Raymond, playing the role with quiet sexuality and making it easy to see how Cathy could fall for him. Clarkson (Six Feet Under) puts in a multi-layered performance as Cathy's friend Eleonor, who is all talk but ultimately is nothing but another bigot.
Far From Heaven's attempt at Sirk's nostalgia is admirable and could be considered a breath of fresh--if this is the type of film you'd enjoy. Admittedly, it's a beautiful film. Director Todd Haynes (Safe) paints a lush, subtle, green-and-taupe suburbia but gives the visuals harsher tones when things start going astray. It's the story that seems so out of place. The reason the melodramatic films of Douglas Sirk worked is because they were made in the 1950s. Life was more hypocritical then--sweet and light on top, dark and real underneath. Overblown films about shallow people trying to redeem themselves or forbidden love being revealed, while the music swells and your heart beats and you wonder how on earth these people will ever make it right again, were very popular back then. The fact Frank can actually embrace his homosexuality and live his life as a gay man, but Cathy can't be with the man she loves because he's black and she's white, somehow doesn't seem to fit in with the modern times. We've grown up (albeit, not completely) and paying homage to this style seems redundant. But hey, if it floats your boat, more power to you.
If Far From Heaven reminds of you simpler times when melodrama reigned, then this is the film for you. If not, you still should see it for the performances, even if you cringe at what they have to say.
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