Füge eine Handlung in deiner Sprache hinzuA 90-year-old woman, rapidly losing her memory and knowing that sooner or later her life will be over, returns to the Manitoba farmhouse she grew up in to try and make peace with her dysfunc... Alles lesenA 90-year-old woman, rapidly losing her memory and knowing that sooner or later her life will be over, returns to the Manitoba farmhouse she grew up in to try and make peace with her dysfunctional family.A 90-year-old woman, rapidly losing her memory and knowing that sooner or later her life will be over, returns to the Manitoba farmhouse she grew up in to try and make peace with her dysfunctional family.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 4 Gewinne & 9 Nominierungen insgesamt
- Arlene
- (as Ellen Page)
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While the film is reasonably faithful to the plot of the book (but it isn't really a plot kind-of storytelling, is it?), I think it missed the point on capturing the spirit of the film. Hagar's defiance (for the sake of defiance) was not there. Bram could have been a lot more crude than portrayed, and Hagar's father could have been played more "traditionally", so to speak. If the filmmaker would insisted on stronger portrayals, the film would drive the point straight to home.
Along the same vein, why should we see cell phones, organic produce, and other modernizations? Are we trying make some points for the sake of making some points (e.g., the Muslim girlfriend and the Native people). Hagar and co. are everything but politically correct in the book, so why should we see that in the film version. Modernization may be an excuse for a low-budget operation, but using that as an excuse to send subliminal politically-correct messages that are totally irrelevant to the novel (and the film) seems like throwing punches below the intellect.
There is also the audience. It seems that we have been conditioned to see bitter old people as cute and lovable. Why should be laugh every time Hagar is at her tantrums? I doubt Magaret Laurence wanted her readers to laugh at, or with, Hagar. These people are frustrated and are full of angst, and all we do is to laugh at them. I don't think it did Hagar and other folks in her situation any justice.
The first scene gets this across without any compromise. Hagar (Ellen Burnstyn) is being taken to a nursing home by her son and daughter-in-law. She figures it out en-route and freaks out. Her edges are really hard. She is mean. She is belittling and selfish. She is a stone. I didn't like her - not even a little bit.
Throughout the course of the movie, we get insight. We find out why she doesn't like petunias, why she favors one son over the other, how her losses have formed her character... I started to see the angel... and I started to like her. I especially liked her when she poured out her secrets to the boy in the shack. Ellen Burnstyn, you are a brilliant actor. Kudos. Kudos. Kudos. What a scene!
This isn't a "feel good" movie, but it is certainly a movie that brings the viewer to empathy. I understand more clearly that hard edges in a person's life are there to protect, they are there for a reason...
Hagar isn't my mother - she isn't even my mother-in-law or neighbor... but parts of her are present in many women (and men) in my life. Those parts somehow make more sense to me now that I've watched The Stone Angel.
Hagar, played by the marvellous Ellen Burstyn, is a woman who lives in fear of what her son and anxious daughter in law can do to her. The worst would be a home for the aged and it is happening now.
Through flashbacks, we gain insight into Hagar's life, her lusty marriage to a waster, her sons and her bitterness at the way life has worked out for her.
It is hopelessly and meaninglessly modernized, the book was written in the sixties and here it is translated to modern day with cell phones, etc. It doesn't work. The flashbacks are not smoothly transitioned and at times are oddly placed within the framework of the whole or are too abrupt.
However, that said, the supporting cast are excellent with the younger lusty Hagar played by Christine Horne is a delight. Ellen Page has a small but telling part.
But the film didn't enhance my enjoyment of the book.
6 out of 10.
Wusstest du schon
- WissenswertesDuring filming, Ellen Burstyn saw on the call sheet a long lost relative who was working on the crew.
- PatzerThe first incident with the freight train is set about 1950 yet it has no caboose. The caboose was not replaced by an electronic monitor on the last freight car until the eighties. It's also more than likely that in that era in western Canada a freight would have been hauled by steam rather than diesel.
- Zitate
Arlene: I want to have a baby.
John: We're broke.
Arlene: We love each other. It'll be a love child.
[they both laugh quietly. meanwhile, Hagar walks silently in and sees what's going on]
John: Well, my mom leaves town in a couple weeks. Then we can get married, and we can talk about having a baby, okay?
Arlene: I don't care about a wedding or anything.
John: You can have whatever you want.
[it becomes more intense; they are both breathing faster]
Arlene: [breathlessly] I want lots of babies.
[then they start having sex and Hagar leaves, having said nothing]
- SoundtracksManakwa Stomp
Written by Daniel Koulack
Performed by The Prairie Polka Playboys
(performed at dance)
Top-Auswahl
- How long is The Stone Angel?Powered by Alexa
Details
Box Office
- Bruttoertrag in den USA und Kanada
- 459.166 $
- Eröffnungswochenende in den USA und in Kanada
- 31.883 $
- 13. Juli 2008
- Weltweiter Bruttoertrag
- 473.993 $
- Laufzeit1 Stunde 55 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1