Posts Tagged ‘Dennis Haysbert’

From the Hootoo archive. Originally published March 20th 2003:

Sometimes it’s hard to believe that the elder statesmen of cinema – both film-makers and critics – regularly bewail the medium for losing its intelligence and sophistication, and becoming obsessed with big opening weekends and happy meal promotions. (Although it is perhaps telling that the ‘sometimes’ in question tend to be early Autumn and early Spring, well away from the blockbuster seasons but just about the times that the major awards are either beginning to prey on producers’ minds or about to be announced.) For example, for the second week running we have a film opening in the UK that is a work of the utmost skill and subtlety (and, for that matter, is in part produced by Steven Soderbergh and George Clooney’s Section Eight company).

The film in question is Todd Haynes’ remarkable Far From Heaven, a tribute to the 50s films of Douglas Sirk. A man has to know his limitations, and I must confess that while I consider my expertise in the fields of Toho Studio’s kaiju eiga and the works of David Cronenberg to be entirely adequate, my knowledge of Sirk and his films is limited to what I picked up second-hand from reading interviews with Quentin Tarantino. But this isn’t an exercise in spotting the influences, with bonus points being scored for getting all the in-jokes – quite the opposite, in fact.

Julianne Moore plays Kathy Whittaker, a housewife in Cincinatti in the late 1950s. She seems to have it all: a happy marriage to successful executive Frank (Dennis Quaid), a home with all mod cons, and two charming children. But beneath this cheery surface all is not well – for Kathy stumbles upon Frank in a clinch with another man. This revelation, and Frank’s ‘treatment’ for his homosexuality, places a tremendous strain upon their marriage and Kathy finds herself turning to her African-American gardener, Raymond (Dennis Haysbert) for solace, not quite realising the scandal this will cause amongst the ghastly daiquiri-swilling harpies who are her friends…

Well, it sounds like a fairly over-ripe melodrama, doesn’t it? And to some extent it is. But what’s so unusual about this film is not the story, but the way in which it’s told. Haynes has opted for a style of storytelling which recreates not just the 1950s but also the films of that period – the colours are bright and luminous almost to the point of garishness, Elmer Bernstein’s score is lush and passionate, even the graphic design is a perfect imitation. In many ways Far From Heaven resembles Pleasantville in its recreation of wholesome, slightly camp suburban Americana – Quaid doesn’t shout ‘Hi honey, I’m home!’ when he appears, but you wouldn’t be surprised if he did.

But the most striking thing about Far From Heaven is the way in which it crucially differs from films like Pleasantville, which pastiched this idealised nostalgia. Haynes isn’t parodying Sirk, or holding the genre up to ridicule, or using the 50s setting to make ironic points about the state of America today. There’s nothing here that winks at the audience, nothing to suggest that this isn’t how all films look and sound today. Haynes takes his story and characters seriously and plays the film wholly straight all the way through.

And the results are, as I said, remarkable. The danger of any film with this kind of over-stylised setting is that the audience may find it difficult to get involved with the characters – a problem I had with Moulin Rouge, for example. But that’s not the case here – this story is one of the most moving I’ve seen on the big screen for some time. As anyone who’s seen Jurassic Park 2 will testify, Julianne Moore is one of America’s finest actors and she is very good here, in a role utterly dependent on the subtlety and nuances of her performance. But, arguably, Dennis Quaid is equally good, if not better – it’s almost certainly the best performance of his career so far. 24‘s legion of fans will already be aware of the integrity, decency and nobility which Dennis Haysbert routinely brings to a role, and they’re all much in evidence here.

In fact the only criticism I would make of Far From Heaven is an entirely personal one. The style of this film is very distinctive and very different and my first instinct on seeing something like this is to try and figure out why the director’s done it, what he’s trying to say, and what the significance of it is. But so perfect and committed is the adoption of the style that it’s difficult to see that it’s anything other than an expression of Haynes’ own affection for this kind of film, and all my ruminations that it allows him to make a more emotional film than would be credible in a more modern style, or that the racial and sexual elements of the story work better in this milieu, are probably not much more than me outsmarting myself. I spent most of the film trying to anticipate what the punchline was going to be, and the eventual total absence of one was a little disconcerting. This shouldn’t be a concern of yours, of course – the fact that Far From Heaven is an impeccably made and involving drama should.

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