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Before I begin my review of "Sylvia," I must first admit that I've never been very big on the writings and poetry of Sylvia Plath, the American poet whose words have been the source of inspiration for many a disenchanted teenage girl following her suicide in February of 1963. Many of her poems seem to have escaped me upon reading them: I just never really got the whole undercurrent of "Daddy," nor was I very intrigued by the various outbursts of "The Bell Jar." Color me surprised when, after having seen Christine Jeffs' biopic of Plath, I now have not only a renewed interest in exploring her work once again, but an intense passion for the movie and its subject, whose life was like a thunderstorm without the comfort of shelter. ***

We first meet Sylvia (Gwyneth Paltrow) as a young poet in a world that seems intent on rejecting her work. Her first published piece receives a rather condescending review, and she is crushed, finding herself confronting the person she believes responsible for writing it: fellow poet Ted Hughes (Daniel Craig). There's an instant attraction between the two, made even stronger by their mutual love of rhyme and verse; it's not long before they become lovers, and four months later, a married couple. But their relationship is not always one of days in the sun and endless smiles; as we will later discover, Sylvia's insecurities about Ted's fidelity to her- which are not unfounded- lead their relationship into turbulent waters, ultimately resulting in their permanent separation and her renewed passion for the pen before taking her own life. ***

In reading Plath's poetry throughout the course of many a high school and college literature course, I remember creating a vision in my head of Plath herself. My idea of her existence was wild and crazy, a far cry from how she lived her life in reality; it never dawned on me that the mind behind such forceful, disturbing words and phrases could have been a wife, a mother, and a human being full of everyday emotions like the rest of us. As depicted in the film, Plath was not a woman who indulged herself in feminism and poetry, but was so consumed by the idea of losing the love of her life that it drove her over the edge. We have all felt that at one point or another in our lives, and we each express that feeling in our own way. While some of us might sing a song or write a love letter, she chose to express her angers, her fears, and her insecurities through her poems, yet she still remained a human being, plain and simple. ***

That the film portrays her in such an accessible manner makes it all the more involving as a character drama. Writer John Brownlow creates in Sylvia a character for whom we feel a great deal, both as a writer expressing her thoughts, and as a human being afraid of the dangerous complexities of her rocky relationship. Director Christine Jeffs, in her second feature effort, keeps the narrative moving at a steady pace, building the marriage up with moments of tenderness and warmth before dissolving it in what first appears to be an unjust accusational rage from Plath against Hughes. Once we learn of his infidelity, her emotional turmoil is cast into an entirely different light, and we become even more engrossed by it all. ***

But through it all, it is Gwyneth Paltrow who puts forth the most effort here. As Sylvia, she not only gives the greatest performance of her career, but reminds us of why her indelible grace and fortitude make her one of our finer actresses along the likes of the all-time greats. Here, she pulls out all the stops, creating a torrent of emotion and outbursts of raw, primal force and impact that hit us with all the power of a thunderclap. It's no secret that Paltrow is a huge fan of Plath's work, and with this opportunity to realize that work in a new way lying in her lap, she does not let it go to waste. It is, without a shadow of a doubt, one of the year's finest performances, enshrouded by a movie that embarks on a perilous journey through the nuances of the human soul at its darkest and most revealing. Plath followers and non-readers alike, "Sylvia" is a film that will move you. --

The 2.35:1 anamorphic transfer for "Sylvia" is a splendid-looking one, full of various stylistic touches and accurately capturing all of them. The film goes through a lot of diverse color schemes, all of which are glorious-looking and fully saturated (or desaturated). Fleshtones are accurate, and there is no smearing or bleeding evident throughout the presentation. Contrast and shadow detail bring a great deal of depth to the image, and remain consistently blemish-free, while blacks are rock-solid. Edges are sharp and small object detail commendable, while edge halos are kept to a minimum. The source print is relatively low on film grain and lacking surface flaws, making for a picture that brings the movie to us in the best possible fashion outside of an actual theatrical experience. ***

Then we have the Dolby Digital 5.1 mix, which is actually a very good mix and the latest in a continuing trend of low-key movies that feature terrific sound design. Much like the mixes for "Under the Tuscan Sun" and "Radio," this one makes excellent use of its elements, recording the score to take full advantage of the entire soundfield. Surrounds contribute to an enveloping effect, while the .1 LFE, though quite reserved, provides some audible undercurrent. Dialogue is nicely balanced in the mix and sounds natural throughout. --