With the recent disappointment over Mike Newell’s 50s period film “Mona Lisa Smile” about a progressive teacher trying to make her students look at life outside of marriage. Many wondered how in the hell this film could’ve been so much better. Well, apparently the producers, screenwriters, and filmmakers forgot about the beauty that was the 1950s and instead of making a very interesting film about a girl’s school going through changes, “Mona Lisa Smile” was a bland, contrived farce of a flick only made to sell to an audience because of its star Julia Roberts. Thankfully, there was a film recently that took the audience back to the 1950s. Not by bringing in some fluff, but actually making the audience feel like they’re back in time. In tribute to the work of filmmaker Douglas Sirk and his films “Imitation of Life”, “All That Heaven Allows” and “Written on the Wind”, independent filmmaker Todd Haynes went back in time to the late 1950s in a film of progressive changes and taboo in his 2002 melodramatic masterpiece “Far from Heaven”.

“Far from Heaven” is a breathtaking look at the 1950s melodrama films written and directed by Haynes about a Hartford, Connecticut housewife’s perfect life and marriage falling apart as she discover her husband’s homosexual tendencies while falling for her black gardener. Like Sirk’s films, Haynes brings in elements of melodrama along with an exquisite and colorful look from cinematographer Edward Lachman (noted for his work on Sofia Coppola’s 2000 directorial debut “The Virgin Suicides). Unlike Sirk’s films, Haynes brings more human elements to his characters along with elements of imperfection and progressive plot lines that would be radical in the 1950s. With a rich cast that includes Julianne Moore, Dennis Quaid, Dennis Haysbert, and Patricia Clarkson, “Far from Heaven” is a beautiful, ravishing film that can be viewed again and again for its look and story.

The story is set in Hartford, Connecticut in 1957 as a beautiful housewife named Cathy Whitaker comes home and brings grocery to her lovely house with her perfect family including son David (Ryan Ward) and daughter Janice (Lindsay Andretta). Her husband Frank is at work in his corporate office while Cathy is at home with help from her black maid Sybil (Viola Davis). Cathy seems to have the perfect life much envy but she seems to think her life is just like everyone else’s as a local newspaper editor Mrs. Leacock (Bette Henritze) wants to do a profile on her. On that day, she sees a black man in her backyard that turns out to be her new gardener Raymond Deagan (Dennis Haysbert), who is replacing his late father, who was the family’s old gardener.

While Cathy’s life seems to be perfect, she still has to contend with the town’s gossip queen Mona Lauder (Celia Weston) while she often talks gossip about sex and home life with best friend Eleanor Fine (Patricia Clarkson). Cathy then seems to notice about her husband’s behavior as he often works late, doesn’t spend a lot of time at home, and most recently was arrested for drunken behavior. One night when she decides to bring his dinner to his work place, she finds Frank kissing another man in his office, as she is both shocked and confused. Frank doesn’t know why he behaves like this as he goes to see psychiatrist Dr. Bowman (James Rebhorn) to seek some sort of treatment. Cathy just wants to move on and please her husband as she begins to talk more with Raymond, who is a single parent that owns a plant shop outside of Hartford. She meets with and his daughter Sarah (Jordan Puryear) at an art gallery Eleanor was hosting, as Raymond says some very intelligent things about a Miro painting. Cathy is extremely impressed with his knowledge and sensitivity while the townspeople are lurking over what is going on.

Later at a dinner party hosted by Cathy, she finds herself uncomfortable by the talks of integration in Hartford while Frank is getting drunk at the party. When it ends, Frank tries to make love to her but couldn’t but she says it’s OK as he accidentally hits her. Eleanor comes to the house the next day to pick up some things as she sees the bruise on Cathy’s head as Cathy nearly breaks down in front of her and later, in front of Raymond. Raymond comforts her as he takes her to a park to buy flowers for the garden and a restaurant nearby a car shop where Mona sees the two. Raymond takes Cathy to the restaurant where the restaurant’s all black-patrons look on with ill ease as Raymond ignores their look as Cathy finds Raymond charming.

Rumors begin to swell over what Mona saw as Eleanor begins to ask Cathy what’s going on as Frank is suggesting that Cathy is having an affair where she insists, nothing happened. Cathy had no choice but to fire Raymond but Raymond doesn’t want her to ignore things but understands why they couldn’t be together. Around Christmas time, Frank and Cathy go on a vacation by themselves as Frank’s homosexual tendencies are tested again and he begins to fall apart. Cathy then learns that school kids attacked Raymond’s daughter, as she is saddened at where her life is and realizes that there’s no such thing as a perfect life.

What makes “Far from Heaven” such an exquisite, delicate little film isn’t just its colorful, ravishing look but its restrained melodrama from its actor and film’s script. Todd Haynes, who is known for such films as “Safe”, “Velvet Goldmine”, and the controversial “Superstar: The Karen Carpenter Story”, makes a movie that isn’t just a lovely tribute to Douglas Sirk’s work but also makes them superior to some of today’s modern drama films. He brings in some trained, old school acting style back from the 1950s but with a modern humanistic tone that makes the characters entertaining and real at the same time. Haynes goes for elements of suspense and drama at its most heightened or just making it linear to the story. Especially in the film’s racial tension where it isn’t just the whites looking very discomforted but blacks as well as they too, don’t like the idea of this handsome, intelligent black man talking with this beautiful, charming white woman. It’s stories like that, that are so ahead of its time and Haynes takes it back in time and makes it look fresh.

The look of the film is just breathtaking thanks in large part to cinematographer Edward Lachman. Lachman’s use of color, lighting, and wide-angle shots are so divine, it leaves you breathless as if you’re back in the 1950s. His look is both rich and luscious in its tone and works in its dramatic setting, along with the production design from Mark Friedberg who places all sorts of details of 1957 Hartford from its cars and buildings, to the housings. The film’s art director Peter Rogness should be credited for the film’s colorful look, especially with its fall-like setting of colorful leaves and green grasses. Even the costumes by designer Sandy Powell is filled with life with the big dresses Julianne Moore wore to the more tightened, clothing Patricia Clarkson was wearing along with suits and tuxedos Dennis Quaid and Dennis Haysbert wore.

Though “Mona Lisa Smile” did succeed in making the clothing, production, and look really good, they just didn’t put enough brains into putting life into all of those things in favor of just trying to make the actors look pretty. The crew for “Far from Heaven” wasn’t trying to make things look good but bring life to these images and clothing as if you’re seeing a moving painting. Something the people in “Girl with a Pearl Earring” recently accomplished along the Coen Brothers’ 2001 film-noir black-and-white film “The Man Who Wasn’t There”.

Another great element that brought suspense to the film was Elmer Bernstein’s orchestral score. From its subtle, heartfelt moments, Bernstein brings in a touch of light, smooth orchestral music that just worked while in the more intense dramatic moments, he just strikes with emotional power the way drama should work. At times, it makes your hair stand as if you’re watching a highly emotional scene with immense intensity.

The film’s performance is just top-notch from the smaller roles like the Whitaker’s children and townspeople including the cheery Mrs. Leacock and the lecherous gossip queen Mona Lauder. Even the more standout roles like James Rebhorn’s Dr. Bowman are played at a subdued, restrained tone which some aren’t used to seeing for those who know Rebhorn for playing *sshole-like characters. Viola Davis’ role as the maid Sybil is noted just for its quiet tone as she strays away from the cliché of an African-American maid in the 1950s. Instead, Davis just plays the role from a more subdued, discipline role, as she knows what’s going on between Raymond and Cathy but isn’t saying anything although she isn’t pleased.

The film’s best supporting performance overall goes to Patricia Clarkson as Moore’s best-friend Eleanor. Clarkson gives a raspy, cool tone to her performance as she plays the best friend without descending to other type of clichés where she is the one trying to help her and knowing where she shouldn’t be at. Clarkson is just enigmatic in both her delivery and grace. Dennis Haysbert is by far the film’s most impressive male performance as again, he strays away from stereotypes. Haysbert brings in a relaxed, wise tone to Raymond by just being this African-American character that knows where his place is although isn’t afraid to cross the world he isn’t supposed to be in. It’s the fearlessness that’s impressive as Haysbert proves to be more versatile with each performance and is understandably one of the most underrated actors around.

Dennis Quaid brings in his best performance to date as the tortured mess known as Frank Whitaker. At times, Quaid brings in restraint to his character when it’s needed while being shady in places he’s trying to hide in while breaks down in front of his children in the more dramatic performances. Quaid is just amazing and with the recent performance in “The Rookie”, it’s obvious he’s having one hell of a comeback and he deserves it. Julianne Moore is the film’s best performance as she brings in both beauty and intelligence to her performance while trying not to act phony. She does play that 50s housewife trying to please her husband but she develops into a stronger woman who realize that images aren’t what they seem. She got an Oscar nomination for Best Actress in this role, which she truly deserved. Here, this is by far her best performance to date as she proved to be a versatile actress in any sort of genre whether in mainstream or independent films.

“Far from Heaven” is an exquisite, evocative masterpiece from Todd Haynes. It’s a film that must be seen by anyone who loves grand detail and restrained melodrama. Fans who enjoyed Douglas Sirk’s old films will love this endearing tribute as even the opening and closing credits have a 1950s feel. It’s not just a great homage film but a great acting film as well thanks in large parts to its cast and performances from Julianne Moore, Dennis Quaid, Dennis Haysbert, and Patricia Clarkson. Here, there was life in all aspects of the film. No generic plotlines or dialogue and no wimpy scores. “Far from Heaven” is a must-see masterpiece where everything looks great but there’s more beyond in its surface. A winning gem from Todd Haynes, in tribute to the work of Douglas Sirk.

Related Reviews:

The Virgin Suicides (2000):

http://www.epinions.com/content_113280716420

The Man Who Wasn’t There (2001):

http://www.epinions.com/content_112639446660

Girl with a Pearl Earring (2003):

http://www.epinions.com/content_120964615812

Mona Lisa Smile (2003):

http://www.epinions.com/content_122478956164



Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good Date Movie
Suitability For Children: Suitable for Children Age 13 and Older