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| DIRECTED BY |
| Todd Haynes |
| STARRING |
| Julianne Moore |
| Dennis Quaid |
| Dennis Haysbert |
| Patricia Clarkson |
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Upon viewing �Far from Heaven� along with its DVD�s special features, it�s clear that everything about the film was planned with the utmost precision � from the production design to cinematographer Edward Lachman�s camera angles. Although most filmgoers won�t recognize the �oppression� or the �autonomy� which Lachman comments he was trying to convey in certain scenes, it should be gloriously apparent to everyone that the skillfully executed postmodern stylization of �Far from Heaven� allows it to be classified as a superior film.
Director Todd Haynes decided to reintroduce Douglas Sirk�s melodramatic vision of life and slowly reveal to us the sordid underbelly of his characters' lives; this seems like a more charming version of �Blue Velvet,� and as a result just doesn�t carry the same sort of impact that Lynch�s film had. The character of Cathy Whitaker (Julianne Moore, whose performance is just about as good as you�ve heard it is) is so well-developed and personalized by Haynes that it actually ends up having an adverse side-effect on his other characters; they appear to be mere pawns in Cathy�s existence rather than fully diversified characters.
The score is surprisingly unobtrusive for a melodrama, which is exactly how it should be. After viewing composer Elmer Bernstein�s commentary, however, it seems as if Haynes was going for a more conspicuous composition; in this sense, failure is Haynes� greatest friend.
The most affective aspect of the film is Haynes� depiction of maintaining etiquette in the midst familial squalor. Cathy�s repressed emotions lead to her ultimate breakdown, but why Haynes felt the need to include the subplot of Dennis�s daughter getting injured still confuses me. It would have been much more convincing to simply show Cathy�s feelings for Dennis instead of disguising them within these coincidental excuses. The final scene is nevertheless perfect, though, showing Cathy making one final attempt at redemption when it�s clear that both characters already realize their despondent fates.
