| The Movie Mystic by Stephen Simon Far From Heaven PG-13, 107 minutes This is my favorite movie time of the year. November and December mark the months in which the studios and independents release films that they believe have Academy Award potential. Films must have at least opened theatrically by December 31 to qualify for Academy Awards, so many films open in very limited engagements (usually New York and Los Angeles) near the end of the year and then get wider exposure in the early months of the next year. To boost these films' chances, the studios also send out DVDs of films that they feel deserve Academy Award attention. As I am a voting member of the Academy of Motion Pictures Arts and Sciences, I get about 50 films at home during these months, many of which have not been released widely in theaters. I've been looking forward to THIS year in particular, because it means that I have the opportunity to see some films early that I can share with you. Far From Heaven is a miraculous, beautiful, original, haunting, provocative and extraordinary film -- and that may be the understatement of the year. Set in 1957, the film is shot as though it was actually MADE in 1957. Gorgeous technicolor techniques have been utilized, the film score is evocative of that decade, and the entire creative team lovingly created a 1950s look that is dazzling to behold. If you've never seen the leaves turn in New England in the Fall, this film is awfully close to being there. The Costume design is exquisite (down to a mink stoll that seems so perfect for that time and so out of place today), the production design is so acutely accurate that I felt like I was reliving my past (I went from age 4 to age 14 during the '50s), and the social mores are painfully to the point (a pitcherful of daiquiris for a women's lunch, an African-American "maid," and...meat loaf!) The major impact of the film, however, is that it explores issues that never could have been addressed if the film had actually been made in the 1950s. The story and characters are dazzling and beautifully orchestrated. Essentially, the film looks at the social and emotional fabric of the "perfect" 1950's family. Julianne Moore plays the dutiful '50s wife of a successful corporate salesman (Dennis Quaid). They have the de rigeur two children who call their Dad "pop" and are severely reprimanded for uttering such dreadful epithets as "shucks." Moore's friends are all homemakers and they have lunches and social gatherings that are strictly structured and rife with posturing and pretense. All "looks" normal...until Moore catches Quaid passionately kissing another...man. At that point, it becomes obvious that we are seeing a brilliant filmic convention: a movie set in the '50s, shot in a '50s style, that dares to look at subject matter that never could have been so boldly addressed if the film had actually been made in the '50s. Quaid's homosexuality is, of course, a total taboo at that time and, in one of the most painfully poignant scenes in the film, he consults a psychiatrist who solemnly declares that Quaid's "sickness" is treatable; that is, "5 to 30 percent" of men with this "disease" can undergo a "heterosexual conversion" through behavioral modification and/or shock therapy! Moore becomes friendly with her African-American gardener (Dennis Haysbert) who is a cultured, educated single father raising an 11-year-old daughter. Their mutual need and desire for physical and emotional attention creates enormous tension for both of them and on screen. This is one of the sexiest movies in a long time and there is absolutely no on-screen sex! Sadly, the ugly face of Northern racial prejudice in that era is also re-enacted with chilling and tragic accuracy. Overall, the film is a searing portrait of womens' rights, racism, repressive sexuality and the painful cost of living with societal pretense and without honesty in personal relationships -- and, for me, it is just about as close to perfect film making as a movie can get. I believe that the film is the first real candidate for Best Picture honors next year, along with several other individual nominations for Moore, Quaid, Haysbert, original score, production design, cinematography, costume design, and for the film's brilliant director (Todd Haynes -- bravo, maestro, bravo)! For our Spiritual Cinema Community, it is an extraordinary opportunity for us all to see how far we have come and to take comfort and pride in the breathtaking spiritual, emotional and societal evolution that has occurred in the last half-century. Yes, we still have a long way to go, but those "Happy Days" were indeed "Far From Heaven"...and, my oh my, look how far we've already come! You can actually see and feel in Julianne Moore's eyes and heart the seeds of the societal revolution that was just around the corner. Courageous women such as her character in the film began to see the world differently and broke away from convention, at great personal risk, with no map of what was ahead. For those of you who have ever wondered how this "New Age" really began -- or for those of you who might have let those days slip away to a distant corner of your memory, this film is a treasure from the Universe. Keep a close eye on your local theaters for Far From Heaven. When it opens near you, get your friends together (including young teenagers -- it's rated PG-13) and go! I promise you a wonderful two hours of Spiritual Cinema in its most beautiful form. Far from Heaven Chakra Rating Chakra 1 2 3 4 5 6 7 Rating 5 5 5 4 5 5 5 Total Chakra points: 34 out of a possible 35!! Stephen Simon has produced such films as Somewhere in Time and What Dreams May Come and also has served as president of three different film companies. Stephen's first book, The Force is With You: Mystic Movie Messages that Inspire our Lives, has recently been released by Walsch Books/Hampton Roads. For more information, visit MysticalMovies.com and Stephen welcomes your comments by e-mail at Stephen@MysticalMovies.com. Copyright (c) 2002 Stephen Simon |
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