Review of Far from Heaven (2002) by T'onna B — 19 Jan 2012

What an incredibly poignant and tragic film. If the subject matter and the content does not move the audience on every level, then they will certainly be in awe of the stylistic devices and cinematic techniques Todd Haynes has used in order to recreate that which was typical of the 1950s.

The movie resonates with everyone - anyone who has ever felt judged, discriminated against, condescended, trapped, or repressed. On the macro level, the three prominent issues deal with homosexuality, race, and gender roles which are difficult and bold issues still surprisingly present 60 years later. Yet the intricacies - especially setting the story up to the audience to believe that the characters (at least Julianne Moore and Dennis Quaid's characters) live a life deemed perfect in society's eyes - is what is truly tragic. Each character's immense struggle is palpable not only, as mentioned, on the macro level, but in subtle expressions, snippets of dialogue, and even in use of cinematic techniques such as lighting.

Although this theme has not gone untouched in the last century, one is no less moved (in particular) by Moore's perfect acting and portrayal as the devoted house wife who falls in love with a black man.

However, one may not particularly enjoy the melodramatic style in which the movie was filmed. While it does deal with pressing issues still present today, there seems to be a certain glorification of the three characters made obvious by the melodrama. While general audiences would certainly sympathise and empathise with the three protagonists, if one is not willing to lose themselves in an intentionally beautiful, intentionally tragic, and deliberate sense of grandeur, the movie may seem to over-appeal to the emotion, perhaps even giving the impression that it is contrived.

The pace of the movie was fantastic, with each line of dialogue necessary to understanding the psychology of the characters and their troubling situations. The cinematography, of course, was sheer brilliance - if you do not pay attention to the characters and the plot, you can at least be blown away by the use of colours and symbolic representation of certain objects that comment on the overall tone of the scene or themes. Similar to the cinematography, the lighting was incredible - using dark, heavy colours during scenes in which Frank and Cathy confront each other, or when Frank is dabbling into his 'homosexual tendencies'. While there are other brilliant cinematic techniques that all contribute to the overall intensity and stylishness of the final product, but of worthy mention is the original score. Poignant, moving on every level, climatic, and perfectly fitting of the mood. Nothing more can be said about it.

I do recommend any movie lover to view this movie.