Far From Heaven

一部2002年的模仿1950年代melodrama的电影，不论色泽，台词，还是上中产阶级的故事背景，都那么相似。看完All That Heaven Allows, 再看这一部，那种白人保守思想营造的光环又回来了。但是在这样一个氛围里，植入种族和同性的故事，时不时会有反讽的意味，再加上音乐从大交响换成了轻柔的现代音乐，时不时会有一种抽离。

Highly recommended, perhaps especially for Boomers who may have lived through those years. The circumstances of these peoples' lives are not so different that those of my own family, and what happens with the parents (Julianne Moore and Dennis Quaid) not so different from what happened with my own parents' marriage. Also, it's beautifully photographed.

If this movie doesn't rip your heart out nothing will.

It looks so classic as if 50s, well directed. Message is clear and important but the storytelling is too melodramatic of me...

The movie was okay but moved slow and never had a climax. The setting and time period was done well.

I read somewhere that the cast of this movie would burst into hysterical laughter after shooting some of the scenes. That's how absurd this movie is---in spite of its pretense of seriousness. The artifice and affectation are just overbearing. I hated every minute of it. Two stars for the gorgeous cinematography, which faithfully replicates the wide screen technicolor films of the 1950's.

Queer joy HAD been invented by this point so there’s no excuse.

A heartbreaking masterclass from Julianne Moore. Director Todd Haynes (Carol) delivers a touching romance melodrama with his indie film Far from Heaven (2002). It's carefully directed and shot to be subtle and expressive with brief glances at the object of desire and unspoken feelings. It's simply one of the most beautiful pictures ever made. Far from Heaven is very clearly heavily inspired by Douglas Sirk's 1950's pictures Magnificent Obsession, All That Heaven Allows, Written on the Wind, and Imitation of Life. There's love, sympathy, and warmth in every moment of Far from Heaven. Haynes is a wonderful director with Far from Heaven and Carol certified as two of my favorite films forevermore. I'm grateful producers George Clooney and Steven Soderbergh got Far from Heaven made. Writer Todd Haynes takes the Fall atmosphere of leaves blowing in the wind, lush Autumn colors, and tender romantic tragedies from Douglas Sirk's films and makes them his own. He crafts a tale of a lonely housewife, interracial romance, difficult parenting, social outcasts, homosexual relationships, class struggles, and social acceptance all into one touching film. I appreciate him developing all the main characters into complex people with empathetic writing. Julianne Moore is tremendous in Far from Heaven as Cathleen Whitaker. Moore gives Cathy a graceful poise, heart-wrenching loneliness, tender compassion, and devastating rejection by her would-be lover and all her socialite friends. Julianne Moore is one of our finest dramatic actresses and she proves it again throughout Far from Heaven. Dennis Quaid is great as the alcoholic, closeted gay man Frank Whitaker, who is hopelessly miserable married to Julianne Moore. Quaid finds an inner rage and frustration you don't always get in his usual roles. He feels as vulnerable and repressed as Moore. Dennis Haysbert is phenomenal and nuanced as Raymond Deagan, who longs for love and social acceptance, but gains neither. Jordan Puryear is very sympathetic as the hurting daughter of Raymond named Sarah Deagan. Patricia Clarkson is excellent as Cathy's seemingly supportive best friend Eleanor Fine, until even she has her social justice limits, which reveals her ugliest beliefs. Viola Davis is interesting as the supportive maid Sybil, who must observe all. James Rebhorn is great as the callously regressive conversion therapy Dr. Bowman. Celia Weston is heinously cruel as the bigoted and mean town gossip Mona Lauder. Editor James Lyons keeps Far from Heaven briskly paced with a swift 107 minute run-time. We get gently cut drama that lets characters and subplots breathe. Cinematographer Edward Lachman has these strikingly lit and smoothly panned shots. I loved the art direction from Peter Rogness, Miguel López-Castillo, and Jeffrey D. McDonald put green and blue moody lighting into each scene. All the shots are dazzling. Mark Friedberg's stylish 50's house sets are so cozy and quaint. Set decorator Ellen Christiansen's furnishings look antique in style, but new for a believable tone. Composer Elmer Bernstein's soft, melodic symphonic film score is dreamy and romantic. I like how quickly he switches up styles within a piece for dramatic tonal shifts. His music is the stuff of classic cinema. Sound designers Leslie Shatz, Michael "Gonzo" Gandsey, Drew Kunin, Marshall Garlington, Kelley Baker, and Richard Moore let us hear idle gossip and quiet whispers of affection with clear recordings. Costume designer Sandy Powell's lovely gowns and cozy red flannel shirts or cable knit sweaters all look comfortable and vibrant. She brilliantly clothes all the redhead actresses in emerald green gowns, crimson red jackets and dresses, and light lavender shawls for complementary aesthetics. Makeup artists Elaine L. Offers and Hildie Ginsberg give Julianne Moore alluring red lipstick and cute pink blush for her rosy cheeks. I liked that they let her be naturally pale and pretty in her own skin. Hairstylists Alan D'Angerio, Mary Cooke, and Michael Kriston give each lady carefully combed curls to adhere to 1950's fashions. In all, Far from Heaven is like discovering a lost Douglas Sirk romance melodrama with Todd Haynes delivering refined filmmaking alongside Julianne Moore's magnificent display of emotional acting.

The best acting performance from Julianne Moore! With the best movie screenplay ever written! And the best cinematography ever done in a movie!

Sure to leave audiences divided, director Todd Haynes has crafted a film that would appear to be a tribute to the sordid but stylish melodramas of Douglas Sirk from the 50s, colorful in style but bleak in theme in their condemnation of American society. Cathy and Frank Whitaker (Julianne Moore, Dennis Quaid) live in idyllic suburban Hartford, living a seemingly perfect life with their two loving children in a beautiful home. Before you can say ‘golly gee', things begin to deteriorate as the result of homosexuality, an interracial relationship, excessive drinking and spousal abuse. Similar to Sirk's films, the colors are bright, the music is jaunty, the acting is theatrical, and the dialogue is cringeworthy based on today's standards. Does Far from Heaven work as a tribute to Sirk? Sure. Is it well made? It is. Will it appeal to anyone not familiar with Sirk? Probably not.