Far from Heaven

(2002)

Directed by

Todd Haynes

Review by Todd Plucknett

Far from Heaven is about as close to perfect as movies come. It is an absolutely brilliant and touching film by Todd Haynes that is likely to inspire fondness in all audiences. It is a beautiful, rich and poignant film that only gets better with time.

The film is a complete throwback to melodramas of the 1950s, most notable the films of Douglas Sirk. The film is an absolutely impeccable recreation of that time period and the style of film that has become accustomed with those days. The film centers on Cathy Whitaker (Julianne Moore), a woman with a seemingly perfect life. She is married to Frank (Dennis Quaid), a businessman on his way up the corporate chain. Her supportive best friend is Eleanor (Patricia Clarkson). One day, Cathy spots a black man (Dennis Haysbert) on her front porch, who turned out to be Raymond Deagon, the son of her gardener who had recently passed.

Cathy and Raymond develop a controversial friendship. The entire town of Hartford is delved in gossip and shock that someone like Cathy would even be seen speaking to a black man, even if it is her gardener. Meanwhile, Frank is overwhelmed with work in the busiest season of the year, having to stay late at the office constantly. One night, Cathy decides to go visit him, only to see him in his office kissing another man. Her idyllic life suddenly took a serious step backward. She had no inclination that this could be possible. Frank agrees to go to a therapist to try to cure himself of these desires. Cathy falls in love with Raymond, which only further strains her already broken relationship with Frank, and creates tension between her and the rest of the town.

This film is an absolute wonder. The recreation of the time period is flawless. One thing that stands out to me is the two children’s actions. It feels as if I was actually watching an old show or film. They were the perfect little children, saying things like “Oh geeze” and “swell”. They were always calling their father “Pop” and were thoroughly excited to see him all the time.  In addition, the conversations that the people have at cocktail parties and such are totally authentic and appropriate. The color schemes, score, and art direction also totally add to the overall effect of recreating the film look of the 1950s melodramas.

The performances are amazing in this picture. Moore gives the performance of her career as the mother trying to salvage what is left of her deteriorating life. Quaid proves that he actually can be a brilliant actor when given the right role. This is his best performance certainly since The Right Stuff, playing the man trying to suppress his homosexuality. The facial expressions that Quaid uses flawlessly convey the shame and torment that his character was going through. Haysbert was possibly the most inspired casting choice in the movie. It is a marvelous performance. His voice and body language complete the brilliant character of Raymond with sincerity and charm. Clarkson has a part that could have just been a throw-away role, but she turns it into an important and touching character.

Hayne’s vision is entirely flawless in this film. The movie is so beautifully shot. It contains so many scenes that are uncomfortable and avoided in other pictures. It takes on subjects that were taboo in film in the 1950s, and it sincerely explores them without holding anything back. It is a genuine and honest film that is nearly impossible to not feel some emotion in the end. It does not force anything. You really care about these characters. It is a splendid experience that will appeal to wide audiences.

Rating:

# 24 on Top 100

# 1 of 2002