Davies técnicamente correcto con una trama que carga sus filias sobre la herencia de un padre autoritario o el hijo maternalmente castrado, el drama de época, los bares, los coros, la carga conservadora que reprime y provoca conflictos internos. Weisz es la mujer frágil, aspirante suicida. La película parece respirar únicamente fatalidad, pero lo cierto es que esto es temporal. Davies cierra con ese fin de cambio.
Constraint, freedom, & love collide in Post-WWII London in this Brief Encounter-ish story. This heartbreaking film not only has wonderful performances & cinematography but a knockout 5 min. opening: A wordless number of scenes that reveal small moments that lead up to the story, with a rising orchestra complimenting the gliding camera as images appear and dissolve.
wong kar-wai c/o a BBC costume drama. it works. beautifully shot in a way that demands less attention than your average wong heartbreaker. there's something tender-but-unsentimental about its handling of love and need. everyone looks great too - you'll understand why rachel weisz can't quit loki when you see him rock an ascot. hints of maturity toward the end move past "suffering woman" archetypes, thankfully.
Davies is the perfect director to adapt Rattigan's play opening it up cinematically in both technique and structure. By keeping the time structure fluid and moving back and forth along it Davies has turned sweeping melodrama into something quite sublime. Rachel Weisz gives a near career best performance here with able support from male leads Hiddleston and especially Beale as the cuckold husband. Nof for all tastes.
Rachel Weisz gives a tenable, unguarded performance - in what could have been too over the top or an icy role - she nails it. Terence Davies tableaux shots are amazing (omg! the wwII flashback). I wish the male leads were fleshed out a bit more - but maybe Rattigan's play they are. The choice of pop music & violin concerto are so evocative that it makes your chest ache. Really brilliant. Bonus: Cora from Eastenders!