Review of Far from Heaven (2002) by M. K — 20 Dec 2007

I don't really know what to make of Todd Haynes. A director with no discernable style of his own, he crafts all his films as homages to the filmmaking styles of other directors (Safe, this film), or he makes bio pics of rock stars from the 60's and 70's, and then tries recreating those eras (Superstar, Velvet Goldmine, I'm Not There). If he were just a derivative hack, it would be easy to dismiss his work, but with this film, he washes away the bad taste left in my mouth after I viewed his Velvet Goldmine.

Far From Heaven has something his previous film did not: actual characters we care about, portrayed by actors with the ability to actually get across feeling. Julianne Moore's performance here is easily one of the best - by any thespian, male or female - that has ever graced the screen. Essentially given a duel role (she must become the character of Cathy Whitaker, but she must also adopt the acting style dominant in the time period that the film tries to recreate), she pulls it all off so immaculately that her character haunts you long after the retro-syled end title cards have rolled. Dennis Haysbert is almost her equal, radiating warmth, intelligence and sincerity. When the two share screen time, their scenes together have a touching beauty - early in the film, Moore runs into Haysbert at an art show, and the two of them have a sweet discussion about one of the paintings in front of them. It's a pitch perfect scene, seemingly minor considering the charged drama to come, but its simple beauty leaves a deep impression. In comparison with the previously mentioned pair, Dennis Quaid doesn't fare as well. His performance is perfectly adequate, but it can't compete with Haysbert's, let alone even approach Moore's.

From a technical perspecive, Far From Heaven is nearly flawless: its period detail is superb, the score by Elmer Bernstein is beautiful and appropriately melodramatic, and the cinematography is lovely. Hayne's direction does well at recapturing Sirk's style, but is not quite perfect in one respect: the film stock. One would assume that, given the efforts in every other respect to recreate the look, sound, and feel of a '50s melodrama, Haynes would opt to make the film look its attempted age. It's not a major flaw, but it is mildly distracting nonetheless, especially considering the big, flowery font of the titles. This minor critique is emblematic of the entire film itself; it is near-perfect, but something just feels missing. I place the blame on the style the film emulates; it gets it near-perfect, right down to the flaws that rob the film of the immense emotional power it could have had without all the stylistic, melodramatic posturing. That isn't to say the film isn't powerful - it most certainly is, and even moved me to tears on occasion - just that it could have been even moreso.

Still, Haynes' script is a masterpiece, and enough of its brilliance shines through, and when combined with Moore's phenomenal turn, makes Far From Heaven essential viewing.