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  • When I found out that Jessica Lange, Michelle Pfeiffer, Jennifer Jason Leigh, and Jason Robards were teaming for a film based on a Pulitzer-Prize winning novel, I went out and read the book immediately. "A Thousand Acres" was one of the best reading experiences of my life, and while the film couldn't capture the book in its entirety (no film could, unless it were six hours long), I really enjoyed it. Michelle Pfeiffer should have received another Oscar nomination for her fearless portrayal of Rose Cook Lewis, the character modeled after Shakespeare's evil Regan from "King Lear." While all of the performances are solid, they seem somehow timid next to Pfeiffer, who once again proves that she is most definitely not just another pretty face.
  • Warning: Spoilers
    SPOILERS... I had just finished this excellent book and was excited about seeing the film. In particular I was looking for resonant scenes like Larry's kitchen cabinets left out in the rain, the building chemistry between Ginny and Jess, the mounting sense of loss felt by Ginny when each of her family members betrays her, particularly the last wounding blow from Rose. The film rushes from scene to scene, never giving any moment time to resonate with emotion. The result is the feeling that you don't get to know or care about any of the characters. In the book I felt sorrow and shock when Pete died, in spite of his many flaws. In the film he is about as two-dimensional as you can get. Jessica Lange has chops as an actress and could have made Ginny into the sympathetic character she is in the book. Unfortunately, the screenplay and direction didn't allow for it. The film feels mechanical, almost like you can picture the director checking off each scene in her to-do list. Make the breast cancer known, check. Show attraction between Ginny and Jess by having him touch her neck, check. Show Larry deciding to give up the farm, check. I agree with those who said it felt like a Lifetime special. I'm disappointed because the actors are top-notch, especially the freakishly gorgeous Michelle Pfeifer and the criminally under-rated Jennifer Jason Leigh. The land was just as much a character in the book as any of the people, and I wonder what the director could have been thinking by not showing this more. In the end you feel like the sexual abuse and the death of a sister are manipulative plot devices to jerk out the tears. I blame the direction and the screenplay adaptation. Terrence Mallick could have done justice to this great book. I wonder what Jane Smiley thought.
  • I didn't actually have high hopes for this film because I had read some critics reviews when it first came out. I have not read the novel either. I thought the film was very well done and was moved by it. I agree that many of the supporting characters are underdeveloped but I could overlook that because I knew what was motivating the main characters. The two lead actresses are brilliant, especially Jessica Lange, who deserved an Oscar nomination for this. I loved the way her character slowly changed through the movie and Lange can evoke so much emotion in the viewer with something as small as a hand gesture. Pfieffer is strong as well although the story mainly revolves around Ginny and I don't really see why Pfieffer gets first billing here. I strongly recommend the film, espeically on dvd.
  • A Thousand Acres (1997:***) This sober drama lasted about a week in theaters and was dismissed as dreary soap opera by most critics. There are echoes of "King Lear" in the story of a wealthy farmer who decides to divide his estate among his three daughters. But I thought the reviews overestimated the extent to which the story uses the Lear parallels. It's just a catalyst for a strong drama of family conflicts and repressed memories coming to the fore that soon goes its own way. There are some script problems: the youngest daughter's loyalty to her cruel father seems quite inexplicable, and as a lawyer you would think she'd know better than to put a hopelessly senile person on the witness stand. The fine cast does pretty well, especially Jessica Lange and Michelle Pfeiffer, although as usual Jennifer Jason Leigh is barely adequate as the youngest sister. Maybe watching this on a stormy Sunday night helped put me in the mood, but I rather enjoyed this one.
  • Having watched this film years ago, it never faded from my memory. I always thought this was the finest performance by Michelle Pfeiffer that I've seen. But, I am astounded by the number of negative reviews that this film has received. After seeing it once more today, I still think it is powerful, moving and couldn't care less if it is "based loosely on King Lear".

    I now realize that this is the greatest performance by Jessica Lange that I've ever seen - and she has had accolades for much shallower efforts.

    A Thousand Acres is complex, human, vibrant and immensely moving, but surely doesn't present either of the primary female leads with any touch of glamour or "sexiness". I don't think this is well received in these times.

    Perhaps one reason for this film's underwhelming response lies in the fact that the writer (Jane Smiley(, screenplay (Laura Jones), and director (Jocelhyn Moorehouse) are all women. I know that, in my younger days, I wouldn't have read a book written by a woman. I didn't focus on this fact until years later.

    If you haven't seen this movie or gave it a chance in the past, try watching it anew. Maybe you are ready for it.
  • I was very moved by the gentle power of this movie and by the mood it created. I think it should have gotten a great deal more credit than it did. I agree that Michelle Pfeiffer should have been nominated, but I think all the performances were outstanding, and that Michelle Pfeiffer and Jessica Lange portrayed the deep affinity and conflicts of sisters with great emotional depth and sensitivity. Although I didn't read the book, I found the modern concept of King Lear very cool. I certainly will never look at the play quite the same way again!
  • I was really looking forward for this picture since i heard that Michelle Pfeiffer and Jessica Lange would star together. But when i eventually went to see it i must say i was a bit disappointed. I don't say that the movie was bad ,but the fact that i expected much more from it , make me regard it an average movie. The direction was very poor and the editing unacceptable. The adaption seemed to lack in many ways and Jennifer Jason Leigh was unbearable. But seeing Pfeiffer ang Lange together on screen made me forget everything. These two great actresses proved for once more their talent. When you see them together on screen you forget all the disadvantages the movie has and there's nowhere else you want to be. They both deserved Oscar nominations and Lange probably the award too. Jason Robards though not as good as in some of his previous roles was great too.
  • ken-2013 January 1999
    A touching movie. It is full of emotions and wonderful acting. I could have sat through it a second time.
  • Warning: Spoilers
    ......... ........... ............ ............ ............. from Pasto,Colombia...Via: L.A. CA...and ORLANDO, FL

    Despite having seen A Thousand Acres in a theater 16 years ago, for some reason, I blocked it out and had little recollection of it. Funny how we humans often block things out. In fact, I'd like to call ACRES a "Human Flick"...(As opposed know what!) Nothing compares to a movie that consistently refuses to follow your expectations. At least for me, from beginning to end, despite having seen it before, I just couldn't get it right! KUDOS to ACRES.

    Produced by, Based on a novel written by, Screenplay by, Directed by and Starring WOMEN! YES...They do it ALL!...A job exquisitely well-done, I might add! From the onset, it's obvious that patriarch Larry Cook (Jason Robards, Jr., in one of his last really meaty, showcase roles) together with his three daughters; played masterfully by Jessica Lange, Michelle Pfeiffer and Jennifer Jason Leigh (Stunning ensemble performance); form an utterly dysfunctional family. Apparently, the premature death of Larry's wife, the girls' mother, when they were all children, served as the defining event in all their lives, derailing each member and hurtling them into disparate realities; The operative word here being, "Apparently".

    Robards is inspired as the old-school, ironfisted farmer, who, because of his age, is beginning to show a few cracks, starting to lose his grip. Probably sensing this, the old-man pulls the rug out from everyone when he announces at a family dinner that he has decided to screw the government out of inheritance taxes on his choice Thousand Acres by forming a corporation where each daughter is an equal partner.

    All his daughters are stunned, but the two eldest go along with the idea. Caroline, the youngest, who happens to be a lawyer, exercising professional caution, says she'd like to think it over a bit. The old man is beside himself, causing him to set off a chain of events. There is a very deftly handled undercurrent that adds a potent dose of tension to the film throughout. Phenomenal ending, however, judging from the IMDb 5.9 Rating, it seems a lot of viewers don't agree!


    Any comments, questions or observations, in English or Español, are most welcome!
  • Given the way the film begins - lots of slow tracking shots of the thousand acres - I expected this to be a dull but worthy effort only brightened by Michelle Pfeiffer (the reason I bought the tape). To an extent this was true - Pfeiffer's character was by far the most interesting. Her anger throughout, although utterly justified, carried an air of self-destruction and manipulation that made the story most watchable. There were points when I wondered if the film was going to miss any tragedian tricks (perhaps I mean soap opera headlines: death, abandonment, loss with no true deliverance, etc), but it was the believability of Pfeiffer and the ugly familiness achieved by the rest of the cast that carried it, showing peaks of humanity through the weight of the film's atmosphere.
  • Warning: Spoilers
    This movie is excellent in how it portrays the reality of sexual abuse. The daughters perfectly express their conflicting emotions of affection and betrayal. The on-location scenery is absorbingly authentic, and the soundtrack is unobtrusive yet moving. This film is a graduate-level course in a reality that's too little recognized in American society. Personally, I'm freaked out by the names of the characters -- Lange's character is Ginny Cook Smith -- my name is Connie Cook Smith, and my mom is Genny Cook. The youngest daughter is Caroline Cook, which is my sister's name, and the father is Larry Cook, my cousin's name.But sex abuse was not in our immediate family.
  • 'A Thousand Acres' is one of the best books I've ever read and one of the worst movies I've ever seen, so obviously something was lost in the adaptation. On-set reports claimed that the director was trying to change the story radically while stars Lange and Pfeiffer attempted to keep it closer to the book. The director seems to have won out.

    It's really a shame, because you couldn't ask for a better cast to bring 'Acres' to life. Jason Robards is dead-on as Larry, the psychologically damaged patriarch, and Lange, Pfeiffer, and Leigh have great chemistry as the three sisters. But good actors need good lines, and the screenplay doesn't give them any. The approach taken by the writer and director toward adapting Jane Smiley's brilliant, Pulitzer-prize winning novel seems to have been to simply stick all the dramatic, important scenes together and leave out the nuances and character development that made the story so special.

    In fairness, 'Acres' couldn't have been easy to adapt; it has more than enough scope to make a movie trilogy or an entire series of television. Perhaps it was a mistake, then, to try to keep the beginning, middle and end essentially the same as the book. This approach shows us all the effects and none of the causes. Especially confusing is the scant 105 minute running time, which is only slightly longer than your average Adam Sandler movie. If the director and studio had been willing to make this a 3-hour film, it might have had a chance. As it stands, the movie plays like a highlight reel of the book, and that's not enough to involve the viewer emotionally.

    'A Thousand Acres' is a fantastic story, though the movie would try hard to convince you otherwise. Pick up the book and see for yourself.
  • oskie-18 November 2002
    When I unsuspectedly rented A Thousand Acres, I thought I was in for an entertaining King Lear story and of course Michelle Pfeiffer was in it, so what could go wrong?

    Very quickly, however, I realized that this story was about A Thousand Other Things besides just Acres. I started crying and couldn't stop until long after the movie ended. Thank you Jane, Laura and Jocelyn, for bringing us such a wonderfully subtle and compassionate movie! Thank you cast, for being involved and portraying the characters with such depth and gentleness!

    I recognized the Angry sister; the Runaway sister and the sister in Denial. I recognized the Abusive Husband and why he was there and then the Father, oh oh the Father... all superbly played. I also recognized myself and this movie was an eye-opener, a relief, a chance to face my OWN truth and finally doing something about it. I truly hope A Thousand Acres has had the same effect on some others out there.

    Since I didn't understand why the cover said the film was about sisters fighting over land -they weren't fighting each other at all- I watched it a second time. Then I was able to see that if one hadn't lived a similar story, one would easily miss the overwhelming undercurrent of dread and fear and the deep bond between the sisters that runs through it all. That is exactly the reason why people in general often overlook the truth about their neighbors for instance.

    But yet another reason why this movie is so perfect!

    I don't give a rat's ass (pardon my French) about to what extend the King Lear story is followed. All I know is that I can honestly say: this movie has changed my life.

    Keep up the good work guys, you CAN and DO make a difference.
  • I liked this movie a lot, but the feeling that I most came away with was the memory of how much I´d enjoyed the novel. The film features two of the best actresses working today--Jessica Lange, who is great here, and the divine Jennifer Jason Leigh, who does the best she can with the thinly-drawn character she is given--as well as a surprisingly excellent Michelle Pfeiffer and a steady Jason Robards. The adaptation is basically faithful to the book, at least as faithful as it can be in an hour and forty minutes. The film doesn´t really dazzle, except for certain scenes between Lange and Pfeiffer, but it does a thoroughly competent job of visualizing this wonderfully tragic story. As far as movies adapted from novels go, this was definitely among the better ones. If nothing else, it has sent me back to my bookshelves to rediscover favorite passages from Jane Smiley´s excellent novel, and back to King Lear to brush up on the minor characters in order to see just how deep the parallels go. Worth your time as a film, definitely, and hopefully enough to make you remember that reading great literature is a joy as well.
  • A Jane Smiley novel, loosely based on Shakespeare's KING LEAR about the Cook family and its dark secrets. Director Moorhouse seems tamed in her approach, allowing the characters to step forward and take a bow. And how could you go wrong with the talents of Pfeiffer, Lange, Leigh, Firth, Carradine and Robards?
  • The story is derived from "King Lear"; the setting is a farm in Iowa. Here's a test for this kind of thing: if you find yourself asking, "Why did so-and-so do such-and-such," and the answer is, "because that's what happened in 'King Lear'," you know that the film has failed. Well, that IS what happens here. The father figure in this story isn't living his own life, he's mimicking a fictional one. But there's more wrong with the film than this.

    Jocelyn Moorhouse is ambitious - far more ambitious than I think she realises. She's trying to take the King Lear story and completely change the setting. This is a task in itself. The likeliest result is that the transplanted story will die, and nobody will quite be able to work out why (although there are enough successful transplants, like "West Side Story", to make it worth trying). But she's ALSO attempting a revisionist retelling. In the version of "King Lear" she wishes to create, Reagan and Goneril command our sympathy, and Cordelia is a villain. This is a task in itself, too.

    Succeeding at either task is hard; succeeding at both at once is impossible. In fact, succeeding at one while so much as attempting the other, is impossible. If we are to look on the very same events from a different moral perspective then the events must BE the very same events - which means there can be no tampering with setting. If the story is to be transplanted, alive, into a different setting, its moral heart must keep beating the whole while - which means there can be no tampering with ethical perspective. Moorhouse was bound to fail in not just one but in both of her endeavours. And so she did. ...Naturally, it's possible to attempt both tasks, fail at both tasks, yet by some fluke hit upon a work of art that's good for independent reasons. I mention this because I haven't read Jane Smiley's novel, which, for all I know, IS good for independent reasons. But the film isn't. If there was nothing else wrong with it, there would still be no getting around the fact that it's just so thoroughly, excruciatingly DULL. The very fields of corn are even more boring than they would be in real life - which needn't be the case, since off the top of my head I can think of four films ("The Wizard of Oz", "North by Northwest", "The Straight Story", "Kikujiro") in which the cornfields aren't boring at all.
  • Mattias16 September 2002
    The cast is superb but the script is hopeless. It scatters its potential in all directions: a bit of courtroom drama, breast cancer, a farmboy lover and a childhood of sexual abuse until your head is spinning. And it's not the fault of the cast, Jessica Lange in particular is superb.
  • This movie has more on its plate than a sumo wrestler and the result for the viewer is indigestion. There are some good performances, but the subplots are extraneous and largely unresolved.

    In addition, I found all the characters unlikeable, and if you can't identify with at least one character, there isn't much to get excited about. All in all, this is a classic example of trying to do too much with too little.
  • madison3603 May 2004
    WOW!! I am gazing through my Mom and Dad's extensive DVD collection (mostly because they don't charge late fees;-)) and I come upon "A Thousand Acres." I was stunned that here was a movie that had Jessica Lange AND Michelle Pfeiffer (with a small appearance by Jennifer Jason Leigh) that I had not seen. I don't think I had ever even heard of it before. Well, this is exactly the kind of find that I dream about since I have to admit that my parents raised two movie buffs in my brother and me. With a few exceptions (Neither of us can even get them to consider watching the Lord of the Rings movies, but my Dad LOVES the Matrix trilogy -- GO FIGURE), we have very similar tastes in movies.

    It was a particularly AWFUL day today, weather-wise. It poured rain all day, so I popped in this movie and shortly after I was mesmerized.

    This has to be one of the all-time best "sleepers" I have seen. Jessica Lange and Michelle Pfeiffer are GREAT in their roles especially since they are playing very different types. Jessica Lange's character is a people-pleasing follower who, despite her being the senior child in the family rarely takes a leadership role. Rather, she bows to her father (Jason Robards) and sister Rose (Pfeiffer) and is hell-bent on teaching her little sister Caroline (Leigh) how to follow suit. Michelle Pfeiffer plays a very STRONG willed cancer survivor who is barely able to keep the anger at her unhappy life contained. This movie is five years prior to White Oleander, mind you, so it was definitely inspiring to see her playing such a strong, angry character.

    I would have to say that this movie will probably appeal more to women. However, true movie buffs who enjoy a film for what it is, regardless of genre or target audience, will have a hard time denying the charm of this touching drama about family secrets and what they do the people involved and those who love them. I don't know how I missed seeing this movie before now, but it sure was a nice distraction on a rainy afternoon. ENJOY!!
  • Warning: Spoilers
    I just watched this movie for the first time after finishing the book last week. What's the problem here? Folks admit that the performances are great--I mean, Lange is stellar!--and that the film is good-looking, but it's got less than a '6'! I don't get it. Come on! The writing's not that bad!

    Having read a lot of Pulitzer-winning novels, and having seen a lot of the films based on them, I think a better-than-decent job was done in bringing the screenplay together. I thought the paring down of all the dialogue in the novel was executed almost perfectly. This story had a pretty hefty amount of dialogue in it, and the story really came through on the screen despite the fact that only a portion of it was used.

    **BOOK SPOILER PART** I was, however, a little disappointed in the Ginny-tries-to-kill-Rose subplot's being omitted. I thought that was one of the more emotionally jarring parts of the book, but it was probably a good bet to leave it out. Avid movie-goers, more than avid readers, I think, tend to be less forgiving of protagonists pulling antagonistic stuff. It's apt to confuse Johnny Lunchpail and Joe Sixpack.

    If you loved the book, you will like the movie. If you hated the book, you will likely hate the movie.


  • Warning: Spoilers
    The tormented women in the epic tearjerker "A Thousand Acres" hope that change will brighten their lives. Instead, change ushers in nothing but tragedy. The current popular designation for movies such as this glossy Michelle Pfeiffer & Jessica Lange melodrama is chick flicks. Covering all the dirt in the life of a well-to-do Iowa farming clan, "A Thousand Acres" unravels as a soap opera about anguish, incest, insanity, adultery, and cancer, clearly qualifying this Touchstone Pictures release as a three-handkerchief extravaganza. Moviegoers not familiar with Jane Smiley's Pulitzer Prize-winning novel may prove less demanding than their more exacting literary counterparts. Unsavory as most of "Acres" is, "Proof" director Jocelyn Moorhouse and "Portrait of a Lady" scenarist Laura Jones have exercised considerable artistic restraint and good taste in their depiction of the events.

    Set in Iowa in 1979, "A Thousand Acres" introduces us to Larry Cook (Jason Robards), the Cook clan patriarch. He owns a thousand acres of free and clear land. Larry loves to tell the story about how his ancestors put in a drainage system and converted swamp land into profitable farm acreage. Larry stands tall in the eyes of the community and has a say in all major decisions. The Larry Cook character resembles Shakespeare's "King Lear," which essentially was the idea behind Smiley's novel. Larry's wife died from cancer, but he has three daughters: Rose (Michelle Pfeiffer), Ginny (Jessica Lange), and the youngest Carolina (Jennifer Jason Leigh). Rose and Ginny are married, Rose to Pete Lewis (Kevin Anderson) and Ginny to Ty (Keith Carradine). The older sisters have stayed at home, living in houses on either side of their father's house. Rose is raising two girls, but cancer has forced her to have a mastectomy. The only nudity occurs in the scene in the examination room when we are shown Pfeiffer's face grafted onto someone else's body.

    Carolina differs from her elder sisters. While they dress casually and are homemakers, Carolina is an attorney who wear her hair pulled back severely into a bun. She isn't married at the start of the movie, and her respect for Larry cannot match that of her sisters. So when Larry, in an act of overwhelming generosity, decides to form a corporation and give equal shares to everybody, Carolina balks at the offer. Furious, Larry all but disowns her, and nothing that the sisters can do will change Carolina's mind. Larry makes his relatives a gift of the farm because he feels that the inheritance tax would eat them alive. Initially, "A Thousand Acres" gets off to a happy start. Before fade-out, however, Moorhouse and Jones sling every bit of dirt they can muster.

    We learn that Larry has feel of clay and that Rose and Ginny differ in their temperament. While Rose is consumed by her own sense of rage, Ginny insulates herself from the shadowy past. The movie's time frame encompasses a pivotal and devastating turning point in the Cook clan. Get those handkerchiefs ready. The two elder Cook sisters square off against Carolina. Carolina accuses them of duping Larry out of his farm. The people in town are convinced that both Rose and Ginny cheated their father, too. Since Larry signed over the farm, he has either confined himself to his mansion like a shut-in or he drives around recklessly and gets drunk. Whatever generosity that he had expressed at the beginning, Larry converts now into hate, fear, and rage toward his two daughters. In an after-dark tornado sequence, Larry raves insanely and calls his daughters harlots. Eventually, the ugly truth leaks out, and the Cook clan collapses like a house of cards. As Ginny, Lange wears a glazed-eyed look and weaves a pattern of anxiety with her expressive hands. Ginny has spent her entire life repressing the truth, and her nervous gestures and posture capture this evasion. Lange's performance is very mannered, and the matronly wardrobe that her frumpy character wears dilutes Lange's sensuous Hollywood persona. She has landed the choice role in "Acres." Ginny is the only character that expands and changes. Lange is such a seasoned performer that she makes all of this fidgeting seem completely natural. As Rose, Pfeiffer gets to fulminate and fire off at those people that she hates. Pfeiffer has clearly gotten the flashy role, and she wrings every morsel of thespian disgust out of it. Rose's revulsion for her father is almost as destructive as the cancer she fears will engulf her, and she is not more charitable to her scummy, insensitive husband. Pfeiffer's character could easily qualify as the film's villain, though that role belong to Jason Robards' guilty patriarch.

    Ideally cast as the father, Robards plays a parent whose paternal instincts have grown pretty base. Indeed, the script makes little mention of Larry's crisis, but Robards lets it erupt in a hypnotic performance that is all the more evocative considering his brief appearance on the screen. His scene on the witness stand in court reveals how a talented actor can present character without having to spell it out. This style of grim acting comes easily to Robards who legendary reputation in the American theatre derives from his tortured Eugene O'Neil characters. Robards actually resembles one of "Jurassic Park's" predatory T-Rex dinosaurs with his sunken eyes, sullen expressions, and occupational sneer. The performances alone are worth the price of admission. Nobody is miscast. Keith Carradine's famer husband is probably the only straightforward character who emerges from these disasters with his honesty intact. Pfeiffer and Lange endow their performances with a sisterly blend. Nevertheless, as sisters, they remain inevitably different. By the time the movie concludes, these sisters have confessed what they could never have yielded in less strenuous circumstances.

    Director Jocelyn Moorhouse, whose credits include "How to Make an American Quilt," has crafted an elegiac saga of a family in disintegration. Definitely not a feel-good movie, "A Thousand Acres' is rather an emotional lobotomy that will leave you feeling sad but relieved.
  • I watched this movie, having never read the book, and took the characters at face value, but having already been introduced to them, watched it again recently. I got a whole different viewpoint out of the film.

    Without the burden of having to focus intently on each character, learning their quirks and foibles, allowed me to focus on the cultural issues laid out in the film. The farm families of Iowa are so intimately inter-related as they are in the area of Indiana where I grew up in the 40's and 50's that I immediately recognized the back-stories and motives behind the characters. Perhaps, Jane Smiley did mean for us to see beyond the superficial into the world these people had to live, but viewers are so caught up in the "Hollywood" aura of the individual actors that they miss a rich layout of a lifestyle that exists less and less as each decade passes. Another film with these characteristics is the "Bridges of Madison County". Try watching both of these films again with an eye to the whole picture.
  • Not even a great cast can save this maudlin movie. The book was very good, but the movie is sappy and long and boring. I don't understand why they never told Caroline of her father's unspeakable sins. The book deserved better.
  • tedg20 May 2001
    Warning: Spoilers
    Spoilers herein.

    This is a not incompetent soap opera. And Michelle is uncharacteristically competent. But it is an antiLear -- don't be fooled by the superficial similarity of three daughters and a will.

    The play has Lear as an innocent pawn of his own vision. The play is about vision and naming, and demons manipulating reality through the audience. It is immensely sophisticated.

    This drek is merely a play about a bad man. Nothing sophisticated at all.
  • Compelling emotional drama about a farm, a family and their past. Jessica Lange, Michele Pfeiffer and Jennifer Jason Lee are the three daughters of widower Jason Robards who has decided to pass the farm on to them, cue the music because from here on there is more melodrama than a weeks worth of soaps.

    The biggest strength of the film is the acting with strong performances from Lange and Pfeiffer and a good supporting cast. The biggest weakness is that the behavior of some of the supporting characters is not explained - and there is a lot to be explained. The film takes the time to provide the reasons for the behavior of the two leads but nothing about the rest.

    Overall worth seeing, especially if you like to cry while watching a film (the audience i saw it with certainly did).
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