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Harvey Karten's Reviews
Review: Evening
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#1
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Posted
6/26/07 10:37 PM
From
Harveycritic
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[Msg # 22496.1 ]
EVENING
Reviewed for CompuServe by Harvey S. Karten
Focus Features
Grade: B+
Directed by: Lajos Koltai
Written By: Susan Minot, Michael Cunningham, from Susan Minot’s novel
Cast: Vanessa Redgrave, Natasha Richardson, Meryl Streep, Mamie Gummer, Eileen Atkins, Claire
Danes, Glenn Close, Hugh Dancy, Patrick Wilson
Screened at: Broadway, NYC, 6/26/07
Opens: June 29, 2007
Someone with a spiritual bent once said, "When you are on your deathbed, will you regret not spending
more time at the office, or will you lament not spending more time with your family? (I think the
questioner may be surprised with the answer that some will give.) Changing the wording, you can come up with, "On your deathbed, will you feel guilty that you didn't turn in a crucial report to your boss in time, or will you kick yourself for not grabbing the one partner that would have changed your life dramatically?” Directing Susan Minot and Michael Cunningham’s script, an adaptation from Minot’s best-selling novel, Lajos Koltai does not deal with bosses or offices or turning in reports. “Evening” is a film about time and memory and love, focusing on a seventy-five year old woman who now, on her deathbed, has regrets about what she considers the biggest mistake of her life. The misreckoning was in not marrying the man of her dreams. She believes such a marriage would have made her life blissful. Instead she, like her dear friend whom she had known since college days, opted to compromise, presumably to avoid what they may have considered the alternative: a barren, lonely life.
“Evening” is at heart a simple enough story, one which must have been difficult to translate to the screen in the poetic fashion of the novel, but Koltai, favored with an incredible cast of A-list actresses, captures the happiness and regrets, the feelings of guilt and the expressions of remorse. Filming mostly in and around Newport, Rhode Island, photographer Gyula Padros captures the vast wealth of a family of blue-bloods, while the performances, shifting regularly from the current year to a half century back, evoke the passage of time, the sadness of one dying woman who, while having no material deprivations, perceives a poverty in her soul. At the same time, director Koltai finds optimism in two women who, like their nostalgic, bedridden mother, have made choices of their own.
Vanessa Redgrave centers the story as the critically ill Ann Lord, who, wavering from a hallucinogenic mist to insightful clarity, reveals a secret to her two daughters, Constance (Natasha Richardson), who is married with kids and reasonably content, and Nina (Toni Collette), single, not sure of her current boyfriend, and at odds with her sister because of status differences. “Harris,” intones Ann Lord several times, is cited as the love from whom she fled after a tragedy, relegating her to two marriages with men who could not evoke the same passion. Fifty years back, Ann (now Claire Danes), ponders her twenty-fifth summer, serving as maid-of-honor to the bride, her college friend Lila Wittenborn (Mamie Gummer)–offering to whisk her away when Lila shows deep anxiety about the step she is about to take with a man she does not love. The object of both Ann’s and Lila’s passion, Harris Arden (Patrick Wilson), is a long-term friend of Lila who does not reciprocate Lila’s love for him, thereby pushing Lila into compromising by marrying another. During the weekend that the guests spend at the mansion, even Buddy (Hugh Dancy), the alcoholic son of a society woman (Glenn Close) and close friend of Ann,
makes a pass at Harris. (Note about Patrick Wilson: I don’t get it. He seems bland, though he may not be getting the assertive roles he needs, but I just could not accept the fluttering of hearts that signaled his every public entry in Todd Field’s “Little Children,” and as for Joel Schumacher’s “Phantom of the Opera,” I dearly hoped that Christine would run away with the title character and abandon Patrick Wilson’s banal Raoul.)
Many of us fixate on a single event that we think has affected our lives, overlooking decades of experience which, we believe, would have changed for the better had we not made one error. What novelist Susan Minot appears to bring out is “you never know.” Life might have been better, but could have been worse. What the 75-year-old Lila (now Meryl Streep) states during a brief visit to her old friend sums up the author’s philosophy, and should not be given away in a review.
“Evening” is a satisfying story nicely committed to screen with a few surreal touches brought out by Ann’s deathbed visions--such as an image of Ann’s night nurse (Eileen Atkins) in a bridal dress, creating the aura of a forgiving angel. In the nurse’s role, Atkins displays an earthy wisdom about life’s choices not dissimilar from those of the older Lila. While “Evening” might be dismissed by some males as a chick-flick and belittled by those who wonder why we should care about the sadness of these fabulously wealthy people, its theme–embraced by John Lennon and Paul McCartney’s song with the lyrics, “Yesterday, all my troubles seemed so far away/ Now it looks as though they're here to stay/ Oh I believe in yesterday”–is a universal one. The rich suffer like the rest of us.
Rated PG-13. 117 minutes © 2007 by Harvey Karten Member: NY Film Critics Online
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#2
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Posted
6/29/07 11:48 AM
From
jfrie29924
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Feb-4
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Harveycritic
[Msg # 22496.2
22496.1
]
Prior to the filming of "Evening" has there ever been a film where the real life daughter-mother played the same character. I know of "Sunshine," with Rosemary Harris and daughter Jennifer Elle, but are there others.
Thanks
Jack
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#3
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Posted
7/5/07 12:43 PM
From
Harveycritic
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jfrie29924
[Msg # 22496.3
22496.2
]
Ya got me, Jack! -Harvey
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#4
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Posted
7/5/07 2:24 PM
From
jfrie29924
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Feb-4
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[Msg # 22496.4
22496.2
]
I saw "Evening" last week and this is what I thought about the film:
Attractive cast...pulitzer prize winner....renowned cinematographer...Oscar winners...esteemed author. What a hugh disappointment
I can't speak for others, but this romantic drama tragedy failed miserably in its attempt to dramatize emotional feelings. The screenplay and the characters were never fully developed.
Claire Danes....who I like....was a colossal miscast. She not only had little resemblance with the older Ann (where's the accent), but is beginning to outgrow these type of parts. The chemistry between Ann and Harris was zero.
Toni Collette and Natasha Richardson, who played the daughters, were unconvincing as sisters, whose mother was dying of cancer
Meryly Streep shows up in the film after some 100 minutes....and why...by that time the film is a mishmash. This was nothing more than a casting trick. Would Ms.Streep be there if daughter Mamie Gummer wasn't cast in the film???
Glenn Close's over the top acting about her son is laughable
The screenplay had no depth for the basis of Harris' appeal towards the two women at the wedding. Many films taken from a popular novel fail because the novelist insist on writing the screenplay. And just because you happen to be an acclaimed cinematographer doesn't make you a distinguished director.
The film focus on a dying woman reflecting upon her life and a particular weekend 45 years earlier. I accept the premise that one suffers greatly over the lose of "true love." But after 45 years, several marriages and children, her dying breath, hallucinations, and a Harris that only seems to have good looks; " she still hasn't gotten over it".
C-
Jack
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#5
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Posted
7/8/07 6:25 PM
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Harveycritic
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jfrie29924
[Msg # 22496.5
22496.4
]
If think your points are well-taken Jack. Despite the lack of resemblance among some of the actors who are supposed to be related, I somehow got caught up in the drama. Then again, I liked "License to Wed." :-) Harvey
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Review: Evening
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