Far From Heaven (2002)

3.0

DRAMA
U.S. Release Date: 11/08/02
Running Length: 107 Minutes
MPAA Classification: PG-13 (Mature Themes, Brief Profanity & Violence)
Theatrical Aspect Ratio: 1.85:1

Cast: Julianne Moore, Dennis Quaid, Dennis Haysbert, Patricia Clarkson
Director: Todd Haynes
Screenplay: Todd Haynes
Cinematography: Edward Lachman
Music: Elmer Bernstein
U.S. Distributor: Focus Features

Review by: Carter Moulton

03/08/09

Far From Heaven is heavy melodrama—a label intentionally achieved. Thankfully, unlike so many other films that take a genre and exaggerate its conventions, the film does so without ever trickling into the arena of parody or irony. As the opening scene plays out, with its powder-blue titles and a heartwarming, hearth-n’-home score, it’s obvious that Todd Haynes’ film is inspired by cinema from the 1950’s, notably Douglas Sirk’s work. In fact, even before the film was released, Haynes made it clear that Far From Heaven would be faithful to a 1950’s “women’s film” in style, tone, and execution.

Set in Hartford, Connecticut in the late 1950’s, Far From Heaven tells the story of the Whitaker family: Cathy and Frank (Julianne Moore and Dennis Quad, respectively) and their two children. Cathy is the perfect housewife—supporting the husband (even when she doesn’t know why she should), tending to the children, making the meals, and establishing social connections within the neighborhood. It doesn’t take long for the film’s period style to make itself known through Haynes’ script, as we see Cathy saying things like, “turn down that infernal racket” and her children responding with, “aw gee whiz.”

Photo © Focus Features

Frank is more of a mystery. He’s often out of the house on “business.” We, along with Cathy, find out that this “business”, in reality, consists of a relationship with another man in his office. While Frank tries to “cure” his homosexuality for the benefit of his family and career, Cathy, who’s obviously confused and exasperated, confides—innocently enough—in her gardener, Raymond Deagon (Dennis Haysbert, seen on television shows such as “24” and “The Unit”—he’s also the “All-State” guy). Deagon is an African-American, further complicating Cathy’s behind-the-scenes life in a neighborhood stuffed with close-minded worldviews.

At first, Far From Heaven seems like it’s heading down a familiar route: the scientific aspects and social consequences of homosexuality. Fortunately, it becomes more and more ambitious as it goes, commenting on an array of issues including materialism, racism, and even the condescending forms of perspicacity. Perhaps even more impressive is Julianne Moore. Her performance as Cathy is optimistic, buoyant in the face of anything and everything that occurs. It leaves us watching with anxiety, waiting for the moment or event that will finally demolish her world.

The story is rather simple and sometimes runs a little slow, but the technical execution is done superbly. Haynes plays marvelously with lighting and colors in his theme. In one scene, the day after Cathy finds her husband kissing another man, everything, from Cathy’s sweater to the building to the sky, is frozen with a cold blue—I would guess to represent the sorrow and anguish she is feeling. Far From Heaven’s scenes have their prominent color palettes and observing the frames is a curiously enjoyable experience.

Haysbert is satisfying in his role as the calm, down-to-earth gardener. Dennis Quad is okay; maybe I wasn’t too impressed because his character isn’t very likable. One of the flaws of the film is the fact that Quad’s character isn’t fleshed out at all. This is minor enough, as the real focus is Cathy.

In certain scenes, including the ending, Far From Heaven is exposed as a film trying to find an identity of its own—and as to whether it’s a memorable film or not, I cannot say. It’s dangerous when a film plays with so many themes and issues, but Far From Heaven pulls it off, successfully commenting on some of the reasons we find ourselves “far from Heaven.” The core of the literal story is a bit weak, leaving a somewhat bland taste in the mouth—there were far better films in 2002—but when a film pays homage to history, tackles issue after issue with style, and features a performance like the one Julianne Moore gives, you have to recommend it.