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Far From Heaven

In an age when liberal-mindedness has become a common fact of life for many, one might ask why a movie like "Far From Heaven," with its underlying issues of homosexuality and racial prejudice, would seem the slightest bit moving or dramatic. It's so very hard to be shocked by anything these days: every year we have a new round of films, books, reality television shows, and other forms of entertainment that seem to up the ante on any number of things, some which once seemed taboo and hardcore, that have now lost their bite in this constant haze of desensitization. ***

This is precisely why Todd Haynes's film is so blindingly brilliant: it refuses to pander to the needs of the moviegoing public and their thirst for the next outrageous movie antic. Instead, the film takes us back to the 1950's, putting us in a place and time when such a thing as kissing another man or conversing socially with Negroes was something to be whispered about at dinner parties and social occasions. By choosing his setting with the utmost care and sincerety, Haynes forces us to see these events through the mindset of the period, beckoning his audience to read between the lines. It is because of this that the film as a whole quickly becomes a forcefully elegant and startlingly splendid piece of ravishing emotional excess, and not just another melodrama. ***

Julianne Moore is Cathy Whitaker, the doting wife of television executive husband Frank (Dennis Quaid), and caring mother to two young children. She has the ideal existence: the picture-perfect home in the heart of the suburbs, dinner parties, afternoon daquiries with fellow housewives, who gossip about their sex lives without ever even using the "s" word, all surrounded by the glorious symphony of autumnal colors as the fall season descends upon Cathy's quiet, happy life. She's even chosen by the local Hartford newspaper for an interview, her model lifestyle acting as a constant by which all others wish to lead their own daily lives. ***

That is, until Cathy, who unwittingly decides to take Frank's supper to his office, witnesses her husband sharing a lip-lock with another man, an act that sets in motion the eventual demise of their marriage and an awakening of sorts within them that will change the way they look at themselves and the world forever. Up to this point, Cathy has known nothing outside of her own sphere of happiness: she has played the role of the dutiful housewife for so long that she knows no other means of existing in society. Which is precisely why when she finds herself emotionally drawn to her gardener, Raymond (Dennis Haysbert), a knowledgeable black man whose attentiveness to her is something almost completely foreign to her, she herself cannot fathom the desires of her own heart. ***

This is one of those rare movies where everything works in favor of underscoring the character development. Haynes directly mirrors the films of Douglas Sirk, using the simple melodramatic structure as a means to craft a wholly complex and fully-realized work. Elmer Bernstein's score brings out subtle emotions; Edward Lachman's cinematography uses vivid color splashes and hues to set tone and mood. And as previously stated, the choice of a 1950's setting effectively heightens the tension of the situations at hand: the film achieves an authentic sense of foreboding as a result of the place and time, when such things as Frank's "despicable" orientation was considered a sickness that could be cured. There is a tremendous urgency to the proceedings that only adds to the overall impact of the piece: what will happen to these characters? What is to become of their shattered lives? That we care so much is a great testament to these collective methods of moviemaking: it's all in service of bringing us into the film, putting us into the situations, and forcing us to realize them in the given context. ***

Haynes also finds all the right notes in his superb cast, who bring the characters to life realistically, and not as celluloid caricatures. Moore's outward performance of timidity and confusion is anchored by a deep-rooted, subdued emotional strength that she beautifully allows to seep through gradually. Dennis Quaid gives a performance that is unlike anything we've ever seen from him as an actor: his handling of Frank's unstable sexuality is brutal, aggressive, and downright scary at times. As the gentle gardener, Haysbert supplies the character with a sensitivity and a knowledge of the world that brings to light the harsh realities that Cathy has been quick to overlook during her happier years. While she holds to her belief that somewhere, somehow, they could be together, he knows they can never be truly happy; it just isn't allowed. ***

I must admit that Haynes has come a long way since his feature debut in the early 90's with "Poison," whose visual style was admirable, but whose story was lacking in emotional connection or substance. With "Far From Heaven," he achieves a new level of excellence, creating a melodrama for the ages, a movie that defies the state of normalcy that we as moviegoers have settled into over the passing years. Like all great cinema, it forces us to use our minds, and comes closer to movie heaven than its title implies.

Presented in the 1.85:1 theatrical aspect ratio, "Far From Heaven" looks simply marvelous on DVD. The expressive visual flourishes of cinematographer Edward Lachman utilize a variety of heavy color saturation, to the point at which it may seem overdone. But this is all intended, and it looks very good on the format, free of bleeding or marring. Contrast is pretty much on target, with solid blacks and generally pleasing shadow detail. Edges are razor-sharp with no signs of enhancement artifacts, and the overall presentation looks free and clear of film grain or noise. Superb! ***

The sound is presented in both Dolby Digital and DTS 5.1 audio, and for the most part, these tracks work well with the movie. The score by Elmer Bernstein is well-recorded and makes ample use of the surrounds, and while it's not as aggressive as it could be, it reaps its own rewards by being gentler and more flowing than other, more bombastic scores. The dialogue sounds terrific throughout.

First we move on to the featurettes, beginning with the Sundance Channel's "Anatomy of a Scene," in which we have some interviews with the cast and the crew, who describe the facets of creating the central party scene in which everything shifts focus. Much is discussed about the color palette and the creation of the sets and the costumes, with costume designer Sandy Powell commenting on how Julianne Moore's pregnancy was an added bonus in the creation of period clothing. The context of the scene is also covered, as well as the changes the characters undergo as a result of the events of this sequence. This is a bit more involving than the short piece "The Making of Far From Heaven," which feels like PR fluff but still manages to make some nice comparisons between this film and those on which it is based. ***

Closing out the disc is a rather short, almost insignificant interview session with Haynes and Moore, the film's beautiful theatrical trailer, some production notes, and cast and crew information. Fans of the movie will not be disappointed with a purchase.