About halfway through Todd Hayne's Far From Heaven one character expresses their doubt about whether or not people will ever be able to see past the surface of others, and that, in a nutshell, is just what the film is all about.
Yes, I bought the hype. After countless critics named it the number one film of the year, and I had the cash to pay to see it at the independent theater, Market Street Cinema, in Little Rock, I went to see Far From Heaven with pretty lofty expectations, but I was not disappointed.
Is it the best film of the year? Well, there's far too many movies remaining to be seen to make a decision like that, but it is one heck of an accomplishment as its acting is just about as perfect as one can hope. Haynes's, who last directed 1998's great Velvet Goldmine, directional technique is next to perfect, and the script for the film, also by Haynes, is my favorite I have seen thus far for last year's movies.
Set in the late 1950s in Anytown, USA, namely Hartford, Connecticut, Far From Heaven centers around the marriage of Frank (Dennis Quaid) and Cathy Whitaker (Julianne Moore). The term "marriage," here, is used very loosely because their relationship is falling apart at the seams. We are shown very quickly that Frank is struggling to keep his homosexuality under control. It is extremely evident that because it was such a social stigma, Frank wants to go back in the closet. Of course, this weighs heavily on his marriage and his ability to be a father for his two kids. On the other side of the bedroom, Cathy is feeling the strain on their relationship, and she begins to find the affection she desperately wants in her (GASP) black gardener (Dennis Haysbert). Their interracial relationship, itself, was a big societal no-no, so here the Whitakers stand on the cusp of a vastly evolving society that relies too heavily on social norms. Both of their private and public struggles are displayed center stage, and Haynes has a lot to say, not only about the 50s, but he also points his finger at the present.
Quaid has never been a bad actor, as he has turned in wonderful performances for the past few years, but he really throws everything into to the role of Frank Whitaker, and it really pays off big, as it is probably his best role and performance.
Moore is finally getting the props she has deserved for years, not only for her performance in Far From heaven but also for her work in last year's The Hours which I cannot wait to see. Moore is not afraid to take hard roles, and nothing is harder than the task of portraying a desperate woman in a male-dominated society. She is excellent in Far From Heaven, deserving any and all recognition she receives because of it.
The supporting actors turn in great performances too. Both Haysbert and Viola Davis, who recently turned in a great performance in Steven Soderbergh's completely underrated Solaris, are both very good in their small, thankless roles.
As great as the script and acting are, they are almost completely in the back seat next to Haynes's amazing direction. The movie is shot, written, and acted, completely like it is a movie from the 50s, except that it retains its beautiful color, captured wonderfully by cinematographer Edward Lachman. This undertaking is overshadowed by its most amazing aspect. It takes itself seriously. Far From Heaven offers no present perspective on the past. Instead, it is completely of the 50s. Haynes has pulled off an almost indescribable accomplishment, here, strictly in his restraint, and it helps the film immensely.
One clear reason Far From Heaven offers no current perspective about how backwards the past was is due to the fact that it could be set it the present day in any small town and the problem would still be the same. Clearly, Haynes is trying to show that we have much farther to go as a society to get any closer to Heaven. It is great lesson and movie that we can all stand to learn a little from. |
