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A Thousand Acres [1997]


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Editorial
Amazon.co.uk Review

Jessica Lange and Michelle Pfeiffer are quietly dazzling in this underrated adaptation of Jane Smiley's best-selling modern version of King Lear. The two play sisters of a stubborn, alcoholic Iowa farmer (Jason Robards), who decides to leave his fertile farm to them and their youngest sister (Jennifer Jason Leigh). It is a decision that rends the family, setting siblings against one another and forcing long-held secrets out of their guilty closets. The family dynamics become ever more destructive, and the refuge of sanity the two older sisters have created may be their only salvation. It's a tragedy not quite on a Shakespearean scale, but anyone who appreciates the difficulties of a dysfunctional family will relate to the heartbreak--and the promise of redemption. Pfeiffer especially is breathtaking as the good housewife Rose, whose rage at her father and her husband is never far from her placid surface. --Anne Hurley

Editorial
Synopsis

A Thousand Acres, director Jocelyn Moorhouse's screen adaptation of Jane Smiley's Pulitzer Prize-winning novel, finds skeins of King Lear-like conflict running through the bedrock of a midwestern family. Jason Robards stars as Larry Cook, a powerful, stoic Iowa farmer who decides to retire and split his 1,000 acres of land among his three daughters. His two eldest daughters, Rose (Michelle Pfeiffer) and Ginny (Jessica Lange), live and work on the farm and happily accept the lucrative agreement, while the youngest, Larry's favorite, Caroline (Jennifer Jason Leigh), has abandoned farming life for a law career in Des Moines and refuses to take part in the deal. Initially, Larry is consumed with rage and shuts out Caroline while Rose and Ginny go about running the farm with their dutiful but greedy husbands. However, as Larry begins to lose touch with his farming life, he loses touch with reality, and his painful descent into madness leaves him bitterly opposed to his daughters' ways of running the farm. Paranoid and disillusioned, he decides to sue Rose and Ginny with Caroline's help in an effort to regain his patriarchal control. The lawsuit divides the family forever, leaving Rose and Ginny to suffer alone while realising painful memories from their childhood. As Rose and Ginny discover their own individual strengths in the face of adversity, they learn how to survive on their own, without the protection of the farm and the suffocating presence of their father. Moorhouse's film is an epic tale of loss and redemption that highlights strong and earthy performances from Pfeiffer and Lange.

Underrated family drama with sizzling work by Pfeiffer and Lange
Review date: 2007-08-23 Rating: 10 out of 10

One of the Message Boards threads at IMDb had two women talking about Colin Firth, how they watched the movie only because of him. Obviously these were two young women; but what struck me is how little this movie has been appreciated by audiences generally. The brilliant, and I mean brilliant, performances by Michelle Pfeiffer and Jessica Lange were hardly noticed, not only by audiences, but by the Academy and by most of the critics.

I think I know why. First, the plot--or actually just the setup--is a kind of bastardization of Shakespeare's King Lear with the dying, crazy patriarch and the three scheming daughters who will inherit. Their names even begin with the same letters, Regan, Goneril, and Cordelia--Rose, Ginny, and Caroline. And I guess "Larry" (Jason Robards) works for "Lear." The apparent idea envisioned by Jane Smiley in her Pulitzer Prize winning novel was to tell a Lear-like story from the point of view of the daughters, and to tell it in a sort of late twentieth century realistic way not considered by the Bard. The problem is, in Smiley and Moorhouse's story, the two older daughters are very human with strengths and weaknesses while the father is a most despicable character without much in the way of redeeming qualities. His only strength is his ability to make a financial success of the farm; however, we can even discount that since his father and grandfather before him built the farm and he inherited it.

The second problem--and this is one I cannot personally attest to, not having read Smiley's novel--is that the movie is only a limited and partial interpretation of that novel. Still, it is almost always the case that an excellent novel, especially a long and ambitious one with many psychological nuances, cannot be faithfully transferred to the screen. The vision and audio demands of film drown out the subtleties of a narration while the time constraints don't allow for the full development of character and motivation achieved by the novelist. Given five or six hours, perhaps Moorhouse could have made a movie more in keeping with Smiley's novel.

A third problem is one that is perhaps Moorhouse's alone. She began her directing career with the very well done Aussie film Proof (1991) starring Russell Crowe. She follow it up with How to Make an American Quilt (1995) which celebrated women, especially women of a certain age. However it was a bit heavy-handed and clearly and determinedly a chick flick. In a sense A Thousand Acres takes off from there, showing us not only the point of view of women, but does so in a way that may seem politically motivated to some. Larry Cook is clearly a bad, bad daddy. He beat his daughters and he had carnal knowledge of them. He ran the household with an iron fist. Jess (Colin Firth's character) seduces the inexperienced Ginny and breaks her heart for nothing more than a bit of fun it would appear. And then he goes to Rose, who clearly is going to be the power behind the new ownership, and hooks up with her, while incidentally inducing her husband to end his life in a drunken accident. The rest of the men are one-dimensional characters without nuance, the way they often appear in romance novels. I think most audiences were put off by the heavy-handed incest, adultery and sexual betrayal that was woven into the story.

Having said all this, I think the critics and the public are wrong. I think the direction was biased against men, but in this story it needed to be. I think Moorhouse did a fine job of making an emotional and engaging film about family dynamics that were none too pretty. And the acting by Pfeiffer and Lange was nothing short of sensational. They seemed to feed off of one another in a way that I found absolutely authentic and deeply moving. In particular Pfeiffer was riveting as she projected her bent-up anger and hatred. The way Moorhouse allowed her character to be revealed to us gradually is a tribute to her ability as a director as well as to Pfeiffer's outstanding performance. And the skill with which Moorhouse guided the change in Ginny's character as she went from a "ninny," as she called herself, to someone with self-awareness and some understandable bitterness, was also excellent. The fact that she left her husband was as much out of shame as anything else. He needed to go get her and forgive her and bring her back. And Robards in his intensity and madness was also very good.

I predict that this film, which bombed in theaters, will be better appreciated in the years to come as people see it on DVD. My question is, whatever happened to Moorhouse? Her talent is obvious, but she has yet to director her fourth feature film. When she does I hope she remembers to go with what she believes but to be fair as well. I think, actually she was fair to the two lead character in this film, but didn't pay enough attention to the others. In addition to the unnuanced father, Jennifer Jason Leigh's Caroline was unfinished, leaving us to wonder about why she did some of the things she did. And the husbands needed to be something more than mannequins. They needed to be engaged and involved.

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Product Details/Specifications


Actor(s):
Jessica Lange
Keith Carradine
Michelle Pfeiffer
Jennifer Jason Leigh
Colin Firth

Creators:
Jessica Lange (Primary Contributor)
Michelle Pfeiffer (Primary Contributor)

Director(s):

Recording label: Universal Pictures UK
Manufacturer: Universal Pictures UK
EAN: 5050582377293
Binding: DVD
Number of items: 1
Format: PAL,
Release date: 2006-03-06
Audience rating: Suitable for 15 years and over
Region code: 2
Running time: 101 minutes
Theatrical release date: 1997
Language: English (Original Language)

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