BY Jason Anderson March 19, 2008 14:03
An adaptation of John Bingham’s 1953 novel Five Roundabouts to Heaven, Ira Sachs’ new film represents an about-face after the more naturalistic style of the director’s superb 2005 Sundance prize-winner Forty Shades of Blue. With Married Life, Sachs uses the story’s ’50s setting as an excuse to replicate the Hollywood aesthetic of the era. Intriguing, well-played but somewhat stilted in its attempt to evoke both Douglas Sirk’s sumptuous melodramas and Alfred Hitchcock’s more light-hearted thrillers, the result has the same air of retro-fetishism as Todd Haynes’ Far From Heaven and Peyton Reed’s Down With Love.
That the film plays as smoothly as it does is largely due to the excellence of the actors. Pierce Brosnan is on top form as Richard, a devious rake who plays havoc in the adulterous relationship between his straitlaced friend Harry (Chris Cooper) and Kay (Rachel McAdams), a young widow. Guilt-ridden over the affair, Harry has his own scheme in mind for wife Pat (Patricia Clarkson). Despite the rising passions, the movie’s tone stays cool and wry, perhaps too much so. As a result, Sachs’ fellow nostalgists will get the most out of Married Life, but the film’s vintage threads still boast considerable panache.
THE STONE ANGEL
Margaret Laurence’s university-syllabus perennial is shot through with almost comically Canadian themes — it’s about striving to die on one’s own ornery terms.
MY BLUEBERRY NIGHTS
Though tightened considerably since its Cannes debut last year, the first English-language feature by Hong Kong’s master of romantic languor isn’t really any more substantial or satisfying.
THE UNKNOWN WOMAN
To say that The Unknown Woman represents a change of pace for Giuseppe (Cinema Paradiso) Tornatore is an understatement; call it Giuseppe Goes Giallo.