An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
Richard E. Grant
A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
In 1951, Laura Brown, a pregnant housewife, is planning a party for her husband, but she can't stop reading the novel 'Mrs. Dalloway'. Clarissa Vaughn, a modern woman living in present times is throwing a party for her friend Richard, a famous author dying of AIDS. These two stories are simultaneously linked to the work and life of Virginia Woolf, who's writing the novel mentioned before.Written by
Jonas Reinartz <firstname.lastname@example.org>
In the Virginia Woolf segment, Leonard Woolf is shown setting type for their press, Hogarth Press. In fact, Leonard's hands shook so that he could not set type, and it was Virginia who did the typesetting. Virginia found setting type calming, and said that it shaped her feel for words on the page, influencing her approach to writing. See more »
[Narrating the letter]
Dearest, I feel certain that I am going mad again. I feel I can't go through another one of these terrible times and I shant recover this time. I begin to hear voices and can't concentrate. So, I am doing what seems to be the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I know that I am spoiling your life and without me you could work and you will, I know. You see I can't even write ...
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...she absolutely deserved the Oscar for her part in this. She somehow has a brilliant knack for playing sombre roles superbly and hamming excited and giddy roles right up! I loved Moulin Rouge, but hated her as Satine at her most excitable. I (worryingly) enjoyed the remake of The Stepford Wives, yet Nicole as the filling of the ham sandwich in all three manifestations of Joanna Eberhart (vamp, doting wife, robot) made me cringe with unease. But in The Hours came her glimmer and hope, and all my expectations were proved wrong. I expected Nicole Kidman at her most enthusiastic, I got someone who even outstripped the mighty Meryl (who was still marvellous, as usual). Was just a shame Julianne Moore didn't win anything either. But all in all: Splendid.
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