When a woman has the beauty men admire and women envy...it is wise to tread carefully.
A woman risks losing her chance of happiness with the only man she has ever loved.
A woman risks losing her chance of happiness with the only man she has ever loved.
Gillian Anderson Dan Aykroyd Eleanor Bron Terry Kinney Anthony LaPaglia Laura Linney Jodhi May Elizabeth McGovern Eric Stoltz Penny Downie Pearce Quigley Helen Coker Mary MacLeod Morag Siller Clare Higgins Brian Pettifer Paul Venables Serena Gordon Lorelei King Linda Marlowe Anne Marie Timoney Ralph Riach Philippe De Grossouvre Trevor Martin David Ashton Mark Dymond Graham Crammond Roy Sampson Gowan Calder Show All…
Granada Film Productions Arts Council of England Diaphana Films The Glasgow Film Fund National Lottery Showtime Networks Film4 Productions Three Rivers Production Progres Film Distribution Kinowelt Median The Scottish Arts Council
La casa de la alegría, Haus Bellomont – Die verborgene Leidenschaft der Lily Bart
An unbelievable story in which several women are attracted to Eric Stoltz.
I was stupid to turn this off after 40 minutes years ago. This is an intelligent view of high society, and it's weird social trappings, but Davies' takes this material a step further than Scorsese did in The Age of Innocence (they are very similar stories, that I watched not far apart (only this is like if Olenska and Newland were combined)), because the material is inherently more nuanced and intelligent, simply by being from a Woman's perspective. On top of the specifically crafted social hierarchy, is all of societies expectations, and limitations, and how a woman was (is?) not allowed to truly live. Davies' filmic sensibilities thrive here, creating a fluid constant motion towards inevitability via cross-fades, and painterly…
Wow, what a prescient choice to watch this the day I finally paid off my credit card debt!
Gillian Anderson is as magnificent as advertised as a would-be social climber if her gambling debts didn't scare away the richer men and if she just listened to her heart and paired off with the man who would be in her new social station if she were to just accept it and therefore him. There's a climactic fireplace reveal where one leaves everything said without uttering a word so this is 100% my shit! Elegant! Conniving! The horror of manners and useless structure! Full of character actors! A climactic boat refusal!! My heart can only take so much, Edith!
Gillian Anderson stars in this drama, based on the Edith Wharton novel, about a socialite who gradually becomes isolated from the people around her due to untrue rumours.
It took a while for me to get into the story, as the pace was quite slow to start with, but it became an absorbing look at the hypocrisy and cruelty lurking under the surface of polite society. The portrayal of a woman losing everything because of gossip about her morality still feels very relevant, the double standards shown still a problem today.
Anderson is excellent in the lead role, perfectly capturing the integrity and growing despair of the character, as she finds her options slipping away. The film was an incredibly well made period drama that still works as a chilling indictment of the way women are treated by people in positions of power.
i’m literally ill after watching this
'We resist the great temptations, but it is the little ones that eventually pull us down.'
A turn-of-the-20th century upper crust period piece where Gillian Anderson spends more than two hours getting ground down and spat out by The Machine is going to either be Great or Unwatchable*, and while it kind of tips the scales if one is a big fan of Anderson (as I am), her performance here is strong enough that I imagine it winning over audience members who don't know who Dana Scully is, or anything like that--credit also to Terence Davies, whose direction is strong enough that the scenes of caddish behavior feel genuinely brutal, and the moments between them (one transition in particular, from…
god words cannot begin to describe this a deeply depressing view on romanticism and society and the patriarchal lense flaring all positions all choices every place which has already been lapsed out. so quiet narratively yet so loud thematically all reliant on the feelings of isolation and feeling so solidified away from the working joints of society where your entire identity just feels wrong. everything you try to attempt to salvage happiness is broken its misconstrued to the extent where society has hindered every opportunity you have been given you sink. and you collapse away from everyone else. just such a rich portrayal of the quiet subtle pain of living away from the expectations.
Writer/director Terence Davies' adaptation of Edith Wharton's 1905 novel is about as far as you could get from the first film we saw last night in Melbourne Cinémathèque’s Davies season, Distant Voices, Still Lives.
The story follows a young socialite of modest means, Lily Bart (Gillian Anderson), trying to make her way in turn of the century New York. Lily could almost be an Austen or Hardy heroine, but the picture Davies paints here of a minnow swimming in a pool of sharks has a lot more modern resonance than "period" films often do. The conjunction of money and sex that is at the core of what happens to Lily has its own momentum that neither she nor those who…
BRENGSEK KAMU DAVIESSSSSSS
I don't like the ending is so sad
Why you always make a perfect movie????
Davies, you are so talented
I can't wait to watch your upcoming movie
Is it strange that easily my favorite Terence Davies film turned out to be the one that... easily feels the least like a "Terence Davies" film? Aside from a few interludes with the camera slowly panning through locations while choral music plays, stylistically Davies pretty much stays out of his own way here, seeming to instead place almost all of his focus on translating Wharton's text as faithfully as possible into cinematic terms, which mainly means lots of dialogue. Especially compared to Davies' other films, the sheer verbosity is initially an almost jarring and unexpected change of pace, but ah what fantastic dialogue it is! I haven't read Wharton's novel, but I'm definitely tempted to now, if the richness of…
Relentlessly brutal and emotionally terrorizing a.k.a. my favorite kind of movie. Gillian Anderson is a revelation and while this lacks some of the standard Terence Davies schtick that I adore, it works well all the same. I hope Edith Wharton would love it.
I often think about how gay directors, Todd Haynes being the most obvious example, are more suited to telling women's stories than straight men. Obviously? Women are, of course, the preferred writers and directors for these stories, but if there was ever a "next best thing"...
I think it has something to do with just sheer empathy; women and gay men have more of it. Their lens for viewing the world and telling stories is frustratingly underutilized, so when it is used, like it is here, there's such a startling increase in quality.
Period piece melodrama that is depressing and beautiful, also one time I got stoned watching the X-Files and got tears in my eyes because I thought Gillian Anderson was so beautiful, and in this no fucking exception. Basically, fuck society, gossip, drama, men, and capitalism. And public persona/status. And romance. Life is depressing.
society without society 😍
Rich people are shan
Davies is really kind of a straight shooter. His movies don’t hide their godlike mastery from you, but there’s an earnestness that’s kind of at odds with that. Fascinating fella.
I was just very confused???? But I was rooting for her!!!
welcome to the house of mirth, now I've come of age, welcome to the house of mirth
What an absolute gaggle of shits.
I was watching this last night but I turned it off because Lorde emailed me the solar power music video
Magnífico period drama elegantemente filmado por Terrence Davies. El deseo, la tristeza y los recelos se trasmiten en cada escena de forma brillante. Una manera muy inteligente y aguda de tratar el melodrama y el clasismo de la época. Gillian Anderson está estupendisima
We resist the great temptations, but it is the little ones that eventually put us down.
Wow, one of the best films I have seen this year so far. The first 20 minutes were horribly slow, but Terence Davies lured, hooked and reeled me in. What an incredible film. Really great direction. The film is visually stunning with attention to detail, and the composition of his shots is great.
There's not a single bad acting performance. Except, well, yeah, Dan Ackroyd. But what about Gillian Anderson, eh? She is absolutely superb playing a a socialite confronted with her social downfall, and it truly is a travesty that she was not even nominated for an Academy Award. Laura Linney is a treasure, and few actors can play a cold-hearted, backstabbing bitch like she can.
The social commentary of the story is still cutting today. Love the feminist message. I haven't read the book.
easily one of the films i’ve watched in english class. gillian anderson is cool tho.
Gillian Anderson is very good in this, but overall it's a massive period yawnfest.
MundoF 13,880 films
It’s an LGBTQ+ world and these are my other LGBTQ+ lists on Letterboxd:
➡️Minor Interest Films: In the Closet: A…
Oscar Lau 999 films
The latest 2020 edition of TSPDT The 21st Century's Most Acclaimed Films (www.theyshootpictures.com/21stcentury.htm)
Missing in Letterboxd: 629th: The Wire (2002-2008)