TroyE
Iowa
The Children’s Hour
Directed by Todd Haynes
Written By: Jon Patrick Shanley (adapted from the play by Lillian Hellman)
CAST:
Charlize Theron as Karen Wright
Amy Adams as Martha Dobie
Sissy Spacek as Mrs. Amelia Tilford
Laurie Metcalfe as Lily Mortar
Jude Law as Dr. Joe Cardin
Christina Robinson as Mary Tilford
Ariel Winter as Rosie Wells
TAGLINE: How harmful can a child be?
Synopsis:
Friends since college, Karen Wright (Theron) and Martha Dobie (Adams) have a strong friendship that was cemented with their decision to pool their finances to open a boarding school for young girls. They have help, mainly from the overbearing and often obnoxious Lily Mortar (Metcalfe), Martha’s aunt, who often wonders why Martha seems so infatuated with Karen, who is engaged to Dr. Joe Cardin (Law).
One student, Mary Tilford (Christina Robinson) is a die-hard trouble maker, often lying, bullying, and manipulating the other girls to follow her lead. One day, when Mary is caught eaves-dropping, Karen and Martha punish her, causing Mary to feign sickness. Dr. Cardin examines her, exposes her for faking, and sends her to her room. Angry, Mary hatches a plan so that she will not have to attend the school anymore; on a weekend trip with her uppity, conservative, and well-to-do grandmother, Amelia Tilford (Spacek), Mary reveals that she has seen Martha and Karen engaging in romantic behavior. On hearing this, Amelia Tilford begins contacting the parents of Mary's classmates. Almost instantly, Mary's classmates are pulled out of school. Rosie Wells (Winter), a student whose mother is abroad, stays with Mary. Mary blackmails Rosie in verifying her story when Martha and Karen confront Mrs. Tilford about the accusation. Cold and vicious, Mrs. Tilford, ignore their pleas and vows to continue her crusade against the two.
Months later, Martha and Karen have lost everything and the small town shuns them, still believing they are lovers. Joe Cardin remains by Karen’s side, but doubt may be overcoming him as well. She decides they cannot be together. Coincidentally, Lily, who refused to show up in the slander trial that Karen and Martha filed against Mrs. Tilford, shows back up, causing more stress. Finally. Martha cannot take it anymore and announces that she DOES have feelings for Karen and always has. Karen responds dismissively, saying that Martha is just under a lot of stress and that they should move away as soon as possible. Martha refuses, saying that they cannot continue together. Karen responds by saying she is going to get some fresh air. When she returns, she finds that Martha has committed suicide.
Days later, while Karen is packing to leave Mrs. Tilford shows up; Mary has admitted to lying and Mrs. Tilford begs for forgiveness. A brutal confrontation occurs and Mrs. Tilford leaves. Karen takes one more look around the schoolhouse and stoically, yet proudly, walks out the front door.
Press Selection
A modern retelling of the classic Broadway play and film, The Chidren’s Hour is possibly even more relevant today than it has ever been. While society has come a long way in accepting homosexuality, one does not need to have a doctorate degree in physics to realize that homosexuality is certainly still shunned and looked at with disgust in many facets of our society. The Children’s Hour exposes the misconceptions, fear, and hysteria that can very realistically still occur when the idea of “homosexuality” is hinted at around children.
Fairly faithful to the original play, this new adaptation makes some minor tweaks to reflect the time period, but sadly not that many changes needed to be made, particularly in the presentation of the devastating effect of the gossip. Theron and Adams deliver wonderful performances that capture the essence of the severity and absurdity of the reaction to the gossip better than—dare I say—Hepburn and MacLaine did. Adam’s is heartbreaking to watch and Theron’s confrontation with Spacek illustrates why she is one of the best working actresses today. It’s a volcanic scene and Theron nails it. However, matching her step by step is Spacek in what is certainly one of her best performances ever. She is utterly chilling at the bigoted, stubborn Amelia. Equally evil is Robinson’s performance as Mary. If you don’t want to reach through the screen and punch her, you are a stronger person than I. Metcalfe also proves why no other actress can play neurotic like she can. It’s a grand, scene stealing performance that is certain to get her a well-deserved Oscar nomination. Law, though underused, is also very good in a role that demands he illustrates suspicion through his actions and facial expressions, not dialogue.
The direction is clean and crisp and the cinematography that captures the cast, bleak Texas countryside is breathtaking. But more important, the message of the film makes it timeless and oh so relevant and Hayne’s careful, methodic storytelling makes it that much more effective.
FYC
Best Picture
Best Director
Best Adapted Screenplay
Best Actress: Charlize Theron, Amy Adams
Best Supporting Actress: Sissy Spacek, Laurie Metcalfe, Christina Robinson
Best Supporting Actor: Jude Law
Iowa
The Children’s Hour
Directed by Todd Haynes
Written By: Jon Patrick Shanley (adapted from the play by Lillian Hellman)
CAST:
Charlize Theron as Karen Wright
Amy Adams as Martha Dobie
Sissy Spacek as Mrs. Amelia Tilford
Laurie Metcalfe as Lily Mortar
Jude Law as Dr. Joe Cardin
Christina Robinson as Mary Tilford
Ariel Winter as Rosie Wells
TAGLINE: How harmful can a child be?
Synopsis:
Friends since college, Karen Wright (Theron) and Martha Dobie (Adams) have a strong friendship that was cemented with their decision to pool their finances to open a boarding school for young girls. They have help, mainly from the overbearing and often obnoxious Lily Mortar (Metcalfe), Martha’s aunt, who often wonders why Martha seems so infatuated with Karen, who is engaged to Dr. Joe Cardin (Law).
One student, Mary Tilford (Christina Robinson) is a die-hard trouble maker, often lying, bullying, and manipulating the other girls to follow her lead. One day, when Mary is caught eaves-dropping, Karen and Martha punish her, causing Mary to feign sickness. Dr. Cardin examines her, exposes her for faking, and sends her to her room. Angry, Mary hatches a plan so that she will not have to attend the school anymore; on a weekend trip with her uppity, conservative, and well-to-do grandmother, Amelia Tilford (Spacek), Mary reveals that she has seen Martha and Karen engaging in romantic behavior. On hearing this, Amelia Tilford begins contacting the parents of Mary's classmates. Almost instantly, Mary's classmates are pulled out of school. Rosie Wells (Winter), a student whose mother is abroad, stays with Mary. Mary blackmails Rosie in verifying her story when Martha and Karen confront Mrs. Tilford about the accusation. Cold and vicious, Mrs. Tilford, ignore their pleas and vows to continue her crusade against the two.
Months later, Martha and Karen have lost everything and the small town shuns them, still believing they are lovers. Joe Cardin remains by Karen’s side, but doubt may be overcoming him as well. She decides they cannot be together. Coincidentally, Lily, who refused to show up in the slander trial that Karen and Martha filed against Mrs. Tilford, shows back up, causing more stress. Finally. Martha cannot take it anymore and announces that she DOES have feelings for Karen and always has. Karen responds dismissively, saying that Martha is just under a lot of stress and that they should move away as soon as possible. Martha refuses, saying that they cannot continue together. Karen responds by saying she is going to get some fresh air. When she returns, she finds that Martha has committed suicide.
Days later, while Karen is packing to leave Mrs. Tilford shows up; Mary has admitted to lying and Mrs. Tilford begs for forgiveness. A brutal confrontation occurs and Mrs. Tilford leaves. Karen takes one more look around the schoolhouse and stoically, yet proudly, walks out the front door.
Press Selection
A modern retelling of the classic Broadway play and film, The Chidren’s Hour is possibly even more relevant today than it has ever been. While society has come a long way in accepting homosexuality, one does not need to have a doctorate degree in physics to realize that homosexuality is certainly still shunned and looked at with disgust in many facets of our society. The Children’s Hour exposes the misconceptions, fear, and hysteria that can very realistically still occur when the idea of “homosexuality” is hinted at around children.
Fairly faithful to the original play, this new adaptation makes some minor tweaks to reflect the time period, but sadly not that many changes needed to be made, particularly in the presentation of the devastating effect of the gossip. Theron and Adams deliver wonderful performances that capture the essence of the severity and absurdity of the reaction to the gossip better than—dare I say—Hepburn and MacLaine did. Adam’s is heartbreaking to watch and Theron’s confrontation with Spacek illustrates why she is one of the best working actresses today. It’s a volcanic scene and Theron nails it. However, matching her step by step is Spacek in what is certainly one of her best performances ever. She is utterly chilling at the bigoted, stubborn Amelia. Equally evil is Robinson’s performance as Mary. If you don’t want to reach through the screen and punch her, you are a stronger person than I. Metcalfe also proves why no other actress can play neurotic like she can. It’s a grand, scene stealing performance that is certain to get her a well-deserved Oscar nomination. Law, though underused, is also very good in a role that demands he illustrates suspicion through his actions and facial expressions, not dialogue.
The direction is clean and crisp and the cinematography that captures the cast, bleak Texas countryside is breathtaking. But more important, the message of the film makes it timeless and oh so relevant and Hayne’s careful, methodic storytelling makes it that much more effective.
FYC
Best Picture
Best Director
Best Adapted Screenplay
Best Actress: Charlize Theron, Amy Adams
Best Supporting Actress: Sissy Spacek, Laurie Metcalfe, Christina Robinson
Best Supporting Actor: Jude Law