Going into this film, I was not sure what to expect. I had heard that it was filmed in the style of a 1950s film, but I had no idea what would be done with the concept, and was afraid. Very afraid. It didn't help that the title splashes onto the screen in bold, pink cursive. I was nervous, and wasn't prepared for what was to follow. Two hours later, I had discovered the best film of 2002.
Cathy Whitaker is a happy housewife, living in the 1950s. Her husband is a successful business man, working for a prosperous company. She has two kids, and couldn't be happier. One night, she uncovers a secret that threatens her family. And in a time of racism, she soon finds herself in the arms of her black gardener.
The always-wonderful Julianne Moore ("Safe") delivers the best performance of her career as Cathy Whitaker. She brings earthiness and credible emotion to a role that, had Haynes cast the wrong actress, could have been overacted or cold. While the center of the story is a female, the male characters surrounding are just as strong. Dennis Quaid ("The Rookie") also delivers his best performance to date, giving the audience heartbreaking look at a man torn apart. Frank is a good husband and father who, over the course of the film, has to choose between the life he is leading, and the life he wants to lead, knowing full well that it would destroy the people he loves. Dennis Haysbert (TV's '24') is, for lack of a better term, beautiful as Raymond, the intelligent and sensitive black man who Cathy befriends. Eleanor Fine, Cathy's best friend, is more of a full-bodied character than stereotype, thanks to Patricia Clarkson's ("Pieces of April") layered and charming portrayal. Viola Davis ("Antwone Fisher") is solid as the Whitaker's loyal maid, Cybill.
When it comes to making films, Todd Haynes is a natural. His screenplay isn't so much dialogue, as it is pure poetry. In one scene, Raymond takes Cathy out to a lake, where she proceeds to tell him her philosophy on family and love: "That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love. The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus".
What Haynes also accomplishes is a film that, while paying homage to a past genre, also brings modern topics, like homosexuality and racism, to the table. In the 1950s, these subjects were considered taboo and scandalous, and were muted in the medium of film. It is also startling to see old-fashioned sensibility on the aforementioned issues. When Cathy finds out that (spoiler) her husband is a homosexual, both her and Frank believe that a doctor and therapy can help "cure" him. Also, when Cathy and Raymond are seen walking about town, the whole town seems to find out within a couple of hours.
There are many elements that embellish the work of Haynes and his cast. For example, Sandy Powell's elegant costumes, Mark Friedberg's colorful production design, and Edward Lachmann's graceful cinematography, all of which are evocative of the cinema period. Most important is Elmer Bernstein's musical score. While composing in the style of the classic films, Bernstein comes up with something haunting and memorable.
Rarely before have I seen a film so rich in its ideas and so successful in its accomplishments. While this project might have been disastrous in the hands of lesser talent, HEAVEN earns the tears of the audience with real sincerity and heart.
Cathy Whitaker is a happy housewife, living in the 1950s. Her husband is a successful business man, working for a prosperous company. She has two kids, and couldn't be happier. One night, she uncovers a secret that threatens her family. And in a time of racism, she soon finds herself in the arms of her black gardener.
The always-wonderful Julianne Moore ("Safe") delivers the best performance of her career as Cathy Whitaker. She brings earthiness and credible emotion to a role that, had Haynes cast the wrong actress, could have been overacted or cold. While the center of the story is a female, the male characters surrounding are just as strong. Dennis Quaid ("The Rookie") also delivers his best performance to date, giving the audience heartbreaking look at a man torn apart. Frank is a good husband and father who, over the course of the film, has to choose between the life he is leading, and the life he wants to lead, knowing full well that it would destroy the people he loves. Dennis Haysbert (TV's '24') is, for lack of a better term, beautiful as Raymond, the intelligent and sensitive black man who Cathy befriends. Eleanor Fine, Cathy's best friend, is more of a full-bodied character than stereotype, thanks to Patricia Clarkson's ("Pieces of April") layered and charming portrayal. Viola Davis ("Antwone Fisher") is solid as the Whitaker's loyal maid, Cybill.
When it comes to making films, Todd Haynes is a natural. His screenplay isn't so much dialogue, as it is pure poetry. In one scene, Raymond takes Cathy out to a lake, where she proceeds to tell him her philosophy on family and love: "That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love. The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus".
What Haynes also accomplishes is a film that, while paying homage to a past genre, also brings modern topics, like homosexuality and racism, to the table. In the 1950s, these subjects were considered taboo and scandalous, and were muted in the medium of film. It is also startling to see old-fashioned sensibility on the aforementioned issues. When Cathy finds out that (spoiler) her husband is a homosexual, both her and Frank believe that a doctor and therapy can help "cure" him. Also, when Cathy and Raymond are seen walking about town, the whole town seems to find out within a couple of hours.
There are many elements that embellish the work of Haynes and his cast. For example, Sandy Powell's elegant costumes, Mark Friedberg's colorful production design, and Edward Lachmann's graceful cinematography, all of which are evocative of the cinema period. Most important is Elmer Bernstein's musical score. While composing in the style of the classic films, Bernstein comes up with something haunting and memorable.
Rarely before have I seen a film so rich in its ideas and so successful in its accomplishments. While this project might have been disastrous in the hands of lesser talent, HEAVEN earns the tears of the audience with real sincerity and heart.