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Director's commentary with Todd Haynes; the making of Far From Heaven; filmmakers experience Q&A session; anatomy of a scene.
Full Product DetailsSide #1 --
1. Main Titles [2:39]
2. Mrs. Whitaker [2:25]
3. A Silly Mistake [3:38]
4. Mrs. Magnatech [5:00]
5. A Secret Life [6:15]
6. Raymond [3:37]
7. Frank's Problem [14:00]
8. The Art Show [5:19]
9. Another Glorious Party [2:59]
10. All Man [4:45]
11. A Day With Raymond [6:52]
12. The Only One [3:54]
13. Vicious Talk [5:59]
14. It Isn't Plausible [2:08]
15. Happy New Year [4:29]
16. Daddy's Girl [4:23]
17. The Breakup [2:54]
18. "Call Me Cathy" [6:59]
19. The Last Farewell [10:40]
20. End Titles [3:54]
The most ambitious project yet from indie director Todd Haynes (Safe, Velvet Goldmine), Far from Heaven is a meticulous homage to the ‘50s melodramas of Douglas Sirk -- right down to the swelling Elmer Bernstein score and the obsessive attention to costume and décor. Borrowing elements both from Sirk’s All That Heaven Allows and Imitation of Life, it tells the story of an upper-middle-class Connecticut housewife (Julianne Moore) whose picture-perfect world collapses when she discovers that her husband (Dennis Quaid) is gay. Simultaneously, she finds herself ostracized by her conservative suburban community for befriending a black gardener (Dennis Haysbert). Moore is terrific as she movingly portrays a woman desperately trying to live up to the ‘50s ideal of devoted wife, yet failing due to circumstances out of her control. Encased in padded, corseted period garb and surrounded by the sterile elegance of her midcentury-modern dream house, she seems embalmed in her own life. Cineastes will swoon over Haynes’s absolutely flawless re-creation of the Sirkian world -- it’s so flawless, in fact, that the film occasionally feels a bit airless and academic (unlike Rainer Werner Fassbinder’s own brilliant, scathing Sirk homage, Ali: Fear Eats the Soul). But Moore’s performance, and to a lesser extent Quaid’s, keep the film alive. Far from Heaven offers the same pleasures that the original melodramas do, by inviting the audience to indulge in big, sweeping emotions in the context of a gorgeously executed movie. By approaching the so-called "Woman’s Weepy" with respect and complete lack of irony, Haynes succeeds in resuscitating a maligned but worthy genre. Kryssa Schemmerling, Barnes & Noble
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