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The new movie Far from Heaven is being hailed by many critics as the best movie of the year. And if it wins an Oscar, I won't be terribly
disappointed. It is a ravishingly beautiful film that explores the nature of love and commitment in subtle and provocative ways.

Julianne Moore stars as Mrs. Whitaker. It's 1957, so her first name is nowhere near as important as her married name. Her husband, Mr. Whitaker (played brilliantly by Dennis Quaid), is a successful sales executive for an up-and-coming television manufacturer. They have two loving children and a beautiful house in Hartford. Of course, not everything is as it seems.

The problem is that Mr. Whitaker realizes he's gay. This being the '50s, coming out is not an acceptable option, and neither is divorce. So he goes to a psychiatrist in the hope of "curing" his disease. Meanwhile, Mrs. Whitaker keeps up appearances at home, all the while taking a
greater-than-usual interest in her new gardener (played by Dennis Haysbert). The fact that he's black does not go unnoticed by anyone.

Director Todd Haynes has positioned his film firmly in the '50s melodrama tradition, particularly the movies of Douglas Sirk. Not only is the
emphasis on race and class evocative of movies like Imitation of Life and All that Heaven Allows, but so is the extraordinary attention to color,
especially in the scenery and clothing. Far from Heaven is hands-down the most gorgeous movie of the year. Fall in New England has never been this spectacular; and Edward Lachman's lighting, especially his strikingly blue night effects, are awe-inspiring. The cinematography complements Haynes's story perfectly, setting the mood and hinting at the narrative's underlying message.

The acting is also top-notch. Julianne Moore gives a fantastic performance as the housewife trying to hold everything together, but I appreciated the two male leads even more. This is certainly Dennis Quaid's finest hour, as his man on the verge of collapse is astounding. It's slightly unsettling that we're again treated to the noble black man, but Dennis Haysbert's portrayal is powerful, and his scenes with Julianne Moore are exquisite. One sequence in a mostly black restaurant is one of my favorites of any I've seen this year.

What keeps me from agreeing wholeheartedly with my colleagues is that Far from Heaven never completely surrenders itself to the melodrama. The artificiality of the setting and some of the minor characters (particularly the children) serve to distance the audience from the material. And the result is that I never found myself completely engaged, but instead I sat watching in admiration. What's missing is something like the great Mahalia Jackson funeral sequence in Imitation of Life; the closest we get here is a farewell at a train station, a very reserved farewell at that.    

by J. Robert Parks  11/30/2002