Terence Davies, master chronicler of post-War England, directs Rachel Weisz as a woman whose overpowering, obsessive love alienates the men around her and destroys her well-being. Based on Terence Rattigan’s play, made famous by countless actresses.
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★★★ that's a lot of passionate cinematography for such an ill-fated and lifeless love affair. Rachel Weisz's restrained performance is astonishing, though (together with THE END OF THE AFFAIR, it would make a great double billing).
Love among the ruins, ostensibly, but in the end (although not the beginning, which has pathos and promise) Davies' Rattigan is too stately and refined a chamber piece to believably convey the powerful grip on its protagonist of a life-altering, soul-shattering love. Not that Weisz doesn't give it a terrific try -- what heart the film possesses belongs entirely to her. But Davies' true love is a vanished Britain.
Rachel Weisz is remarkable in this evocative adaptation of Terence Rattigan's play about a woman who attempts suicide as a plea for attention from both her estranged husband and her somewhat distant lover. Awash in exquisite sadness, Terence Davies directs with a tremulous beauty that recalls the work of Douglas Sirk, while Weisz embodies such a painful sense of internalized anguish that it is almost palpable.
With this and Mildred Pierce, we might be seeing the rise of beautifully executed wrought throwback to the hay-day of melodramas! Its nice, smooth, and contains moments of beauty. Now, if you don't mind, I'll be in the Impressionists!