Cathy Heave

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Cathy goes to find Raymond to tell them that their friendship isn't "plausible". Over the Christmas and New Year's holidays, Cathy goes on a vacation with her husband to Miami to take their minds off of things.

At the hotel, Frank has another sexual encounter with a young man. Back in Hartford, three white boys taunt and assault Raymond's daughter, Sarah.

Frank tells Cathy that he has found a man who loves him and wants to be with him and seeks a divorce from Cathy. When Cathy eventually finds out that the victim of the attack was Raymond's daughter, Sarah, she goes to the Deagan home to find them packing up in preparation to move to Baltimore.

Ever since the incident, he has been getting rocks thrown in his windows, as the African American community is not taking the mixing well.

At one point when he addresses her as "Mrs. Whitaker", she begs him to call her Cathy. She suggests they can be together now that she is to be single.

Raymond declines, saying, "I've learned my lesson about mixing the two worlds. While Moore joined the project immediately, Gandolfini was unavailable due to The Sopranos.

Haynes' next choice, Russell Crowe , believed that the role was too small, and Jeff Bridges wanted too much money. Peter Bradshaw of The Guardian wrote that in regards to the casting of Raymond, "Haysbert brings a Poitier -esque dignity and poise.

Throughout Far From Heaven , one of the central conflicts faced by the main protagonist Cathy Whitaker comes from her attraction towards Raymond Deagan, the son of her recently deceased gardener, and how it develops in the face of her estrangement from her husband, Frank Whitaker, as he deals with his developing homosexual tendencies.

While her interviewer Mrs. Leacock suggests calling the police, Cathy walks outside to confront him and learns the circumstances of the situation and how he came to be there, apologizing for her assumptions and demonstrating her capacity to see beyond his race and show sympathy for his recent father's passing.

This is an action that is observed closely by Mrs. Leacock through the window, and ultimately makes its way into her article profiling Cathy and her "kindness to negroes".

Presenting this particular issue so early on in the film, there is a clear contrast drawn between Hartford's suburban idyllic autumnal setting, and the reality of the social order that dominates everyday life of the Whitakers and the people in their lives.

With the developing historical events of the Little Rock Crisis serving as the contextual backdrop to the struggle of Far From Heaven , it is in this struggle that one of the central themes of the film comes to the forefront, and is continually reintroduced through segregational policies of the era.

Over the course of the film, we observe not only Cathy and Raymond's interactions being highly scrutinized by the different members of their own respective communities, but also examples of Jim Crow practices that are commonplace during this era, such as being unable to sit next to each other at a local lunch counter.

Not only is the boy swiftly removed from the pool, but the white guests who were swimming at the time rapidly exit the pool area in disgust, mortified that the water and surrounding area had been shared, and therefore tainted by someone of color.

Rebecca Sherr writes in her essay, Not queering "white vision" in Far from Heaven and Transamerica ,. The camera moves between Cathy's point-of-view looking out at the pool, and then the camera turns and focuses directly on Cathy so that she becomes the object of the gaze.

Her eyes remain half-hidden behind sunglasses, which act as shield and mirror. The emphasis on parenting here, with a black father and white mother "saving" and disciplining their respective children, further emphasizes the undercurrent of segregation as policing the boundaries of racial reproduction.

Frank Whitaker's tribulations with his sexuality is no doubt one of the more pivotal thematic story elements within Far From Heaven , as it sets in motion a series of events in the film that ultimately culminate in not only the estrangement of his wife, but the inevitable failure of his marriage.

Characterized as the reliable husband, the successful hardworking businessman, the charming spouse, and the devoted father, he is idealized in a way that assigns him so many demanding roles, it is almost as if he is driven to pursue his homosexual tendencies as a means to escape his taxing everyday life, releasing his burden and frustration.

Much like Cathy, Frank too falls short of his highly exalted reputation, and as he is exploring Hartford one evening, avoiding returning home by taking in a movie, he soon finds himself walking the streets, delving further into the seedy underbelly of Hartford nightlife where he hopes to find what he is looking for.

It is when he notices what appear to be two gay men walking into a basement bar that he finally acts on his impulses and begins the slippery slope of self gratification that ultimately comes to dominate his lifestyle.

Haynes sets this up in Far From Heaven , where Cathy appears to have a model life: two children, a successful husband, and a suburban home.

She is a typical housewife, admired by others: "Women just like yourself, with families and homes to keep up. Beauty and perfection, here, are forms of oppression.

The props are also important to observe as symbols of the s: The television manifests the suburban prosperity that characterizes the time period.

Cathy must adhere to the narrow and confining gender roles of the s, just as Frank must suppress his homosexual desires. These characters, disillusioned in their seemingly flawless worlds, ultimately find these symbols as oppressive.

Likewise with Cathy, who finds an escape through her relationship with Raymond, we begin to see her act on her impulses as well, taking us further into the bigoted, prejudiced nature of upper class Hartford society.

When Cathy is discovered crying in her yard by Raymond, in the aftermath of Eleanor observing the physical abuse Frank has inflicted upon her, their relationship becomes even closer, and so he extends to her an invitation for a day in the country in an effort to take her mind off her worries, which she ultimately accepts graciously.

This invitation, however, sets in motion a series of events that culminates in a romantic evening between the two, which is inadvertently observed by Mona Lauder, a woman whose gossip is notorious for spreading like wildfire.

It is through her prejudiced tittle-tattle that Cathy soon finds herself not only with her reputation besmirched, but even her friends and loved ones disgusted with her behavior; in a way, however, that mirrors Frank's experiences.

With Frank revealing his affair to Cathy, effectively ending their marriage, Cathy shares in a similar experience when she reveals her attraction for Raymond to Eleanor, and is summarily rejected, just as she had rejected Frank, mirroring these experiences and exposing the subtle dichotomy between their respective vices.

Rebecca Sherr also notes from her essay,. This difference in outcome is based in the notion of visibility—racial difference cannot usually be hidden.

The film communicates that heterosexual, interracial desire could, in a sense, be seen as even more "queer" than homosexuality, at least in the context of queerness as visible deviance.

Their time together has the significance it does precisely because the social prohibition does not permit it. Haynes created color palettes for every scene in the film, and was careful and particular in his choices.

Haynes emphasizes experience with color in such scenes as one in which Cathy, Eleanor, and their friends are all dressed in reds, oranges, yellows, browns, and greens.

Haynes also plays with the color green, using it to light forbidden and mysterious scenes. He employs this effect both in the scene in which Frank visits a gay bar and when Cathy goes to the restaurant in a predominantly black neighborhood.

Blue is also a prominent color depicting Frank and Cathy's failing marriage, as highlighted in both the beginning of the film as Cathy receives a phone call for Hartford police concerning Frank and his "loitering", and as tensions rise to a boiling point when Frank makes his first visit to a psychiatrist to try and curb his homosexual tendencies.

It is in the moment where the only profanity in the entire film is used by Frank towards Cathy, further demonstrating the cold and bitterness Frank harbors towards her, perfectly in sync with the color palette that envelops them during this scene.

On one hand, Haynes makes straightforward and adroit use of classical convention in a fairly subtle and un-ironic way. On the other hand, moments of strong stylisation reveal a self-consciousness of form that announces its artifice.

The film's articulation of an autumnal orange motif exemplifies how Haynes reawakens dormant Hollywood conventions in a rather delicate expressive manner.

The more overt manipulation of coloured lighting, however, offers a test case. Red and green lighting broadcasts its artifice and its reference to Sirk, activating an awareness of form that Haynes nonetheless manages to align with our sympathy for his characters.

In his extensive use of blue light, though, Haynes exploits conventional motivations and the melodrama's generic tendency towards stylisation to exact a sincere and direct affective charge from colour temperature, in much the way filmmakers had done between the late s and s.

His project of self-conscious reference may, in fact, open room for Haynes to renew the classical convention in an emotionally direct way.

It is this play between citation and invocation of colour scoring that makes Far From Heaven so compelling. Haynes also uses shots and angles that would have been standard in Sirk's films and era.

Cinematographer Edward Lachman created the s "look" with the same type of lighting techniques and lighting equipment incandescent , and employs lens filters that would have been used in a s-era melodrama.

The script employs over-the-top, melodramatic dialogue, and Elmer Bernstein's score is reminiscent of those he had composed 40 and 50 years earlier.

The sound, done by Kelley Baker, also uses a lot of foley to make more prominent the sound of rustling clothes and loud footsteps, a sound technique that was used more in s-era film.

For example, instead of cutting to the next scene, Haynes sometimes lingers on a character for a few seconds longer than comfortable to the viewer, the same technique used by Fassbinder.

Another feature is when Cathy drives her car through town. Rather than filming inside the car as it actually moves, the car is filmed still with artificial backgrounds seen through the windows, reminiscent of older films.

Far from Heaven has received high acclaim from critics since its release. The critical consensus states: "An exquisitely designed and performed melodrama, Far From Heaven earns its viewers' tears with sincerity and intelligence.

As an example of the film's favorable reception among critics, Cole Smithey wrote that the "contrast of gritty dramatic material against an idealized — read fascistic — social atmosphere, makes for an enthralling movie experience".

They Shoot Pictures, Don't They? In August of that same year, BBC Magazine conducted a poll on the 21st century's greatest films so far, with Far from Heaven ranking at number The film did extraordinarily well in the Village Voice ' s Film Critics' Poll of , where Far from Heaven won for best picture, Moore for best lead performance and Haynes for best director and best original screenplay.

Lachman's work in Far from Heaven also won best cinematography by a wide margin while Quaid, Clarkson, and Haysbert were all recognized for their supporting performances, placing second, fourth and ninth, respectively.

The film is recognized by American Film Institute in these lists:. Far from Heaven was the last film scored by Elmer Bernstein. The album's runtime is 42 minutes and 53 seconds.

Raymond declines, saying, "I've learned my lesson about mixing the two worlds. While Moore joined the project immediately, Gandolfini was unavailable due to The Sopranos.

Haynes' next choice, Russell Crowe , believed that the role was too small, and Jeff Bridges wanted too much money. Peter Bradshaw of The Guardian wrote that in regards to the casting of Raymond, "Haysbert brings a Poitier -esque dignity and poise.

Throughout Far From Heaven , one of the central conflicts faced by the main protagonist Cathy Whitaker comes from her attraction towards Raymond Deagan, the son of her recently deceased gardener, and how it develops in the face of her estrangement from her husband, Frank Whitaker, as he deals with his developing homosexual tendencies.

While her interviewer Mrs. Leacock suggests calling the police, Cathy walks outside to confront him and learns the circumstances of the situation and how he came to be there, apologizing for her assumptions and demonstrating her capacity to see beyond his race and show sympathy for his recent father's passing.

This is an action that is observed closely by Mrs. Leacock through the window, and ultimately makes its way into her article profiling Cathy and her "kindness to negroes".

Presenting this particular issue so early on in the film, there is a clear contrast drawn between Hartford's suburban idyllic autumnal setting, and the reality of the social order that dominates everyday life of the Whitakers and the people in their lives.

With the developing historical events of the Little Rock Crisis serving as the contextual backdrop to the struggle of Far From Heaven , it is in this struggle that one of the central themes of the film comes to the forefront, and is continually reintroduced through segregational policies of the era.

Over the course of the film, we observe not only Cathy and Raymond's interactions being highly scrutinized by the different members of their own respective communities, but also examples of Jim Crow practices that are commonplace during this era, such as being unable to sit next to each other at a local lunch counter.

Not only is the boy swiftly removed from the pool, but the white guests who were swimming at the time rapidly exit the pool area in disgust, mortified that the water and surrounding area had been shared, and therefore tainted by someone of color.

Rebecca Sherr writes in her essay, Not queering "white vision" in Far from Heaven and Transamerica ,. The camera moves between Cathy's point-of-view looking out at the pool, and then the camera turns and focuses directly on Cathy so that she becomes the object of the gaze.

Her eyes remain half-hidden behind sunglasses, which act as shield and mirror. The emphasis on parenting here, with a black father and white mother "saving" and disciplining their respective children, further emphasizes the undercurrent of segregation as policing the boundaries of racial reproduction.

Frank Whitaker's tribulations with his sexuality is no doubt one of the more pivotal thematic story elements within Far From Heaven , as it sets in motion a series of events in the film that ultimately culminate in not only the estrangement of his wife, but the inevitable failure of his marriage.

Characterized as the reliable husband, the successful hardworking businessman, the charming spouse, and the devoted father, he is idealized in a way that assigns him so many demanding roles, it is almost as if he is driven to pursue his homosexual tendencies as a means to escape his taxing everyday life, releasing his burden and frustration.

Much like Cathy, Frank too falls short of his highly exalted reputation, and as he is exploring Hartford one evening, avoiding returning home by taking in a movie, he soon finds himself walking the streets, delving further into the seedy underbelly of Hartford nightlife where he hopes to find what he is looking for.

It is when he notices what appear to be two gay men walking into a basement bar that he finally acts on his impulses and begins the slippery slope of self gratification that ultimately comes to dominate his lifestyle.

Haynes sets this up in Far From Heaven , where Cathy appears to have a model life: two children, a successful husband, and a suburban home.

She is a typical housewife, admired by others: "Women just like yourself, with families and homes to keep up.

Beauty and perfection, here, are forms of oppression. The props are also important to observe as symbols of the s: The television manifests the suburban prosperity that characterizes the time period.

Cathy must adhere to the narrow and confining gender roles of the s, just as Frank must suppress his homosexual desires.

These characters, disillusioned in their seemingly flawless worlds, ultimately find these symbols as oppressive. Likewise with Cathy, who finds an escape through her relationship with Raymond, we begin to see her act on her impulses as well, taking us further into the bigoted, prejudiced nature of upper class Hartford society.

When Cathy is discovered crying in her yard by Raymond, in the aftermath of Eleanor observing the physical abuse Frank has inflicted upon her, their relationship becomes even closer, and so he extends to her an invitation for a day in the country in an effort to take her mind off her worries, which she ultimately accepts graciously.

This invitation, however, sets in motion a series of events that culminates in a romantic evening between the two, which is inadvertently observed by Mona Lauder, a woman whose gossip is notorious for spreading like wildfire.

It is through her prejudiced tittle-tattle that Cathy soon finds herself not only with her reputation besmirched, but even her friends and loved ones disgusted with her behavior; in a way, however, that mirrors Frank's experiences.

With Frank revealing his affair to Cathy, effectively ending their marriage, Cathy shares in a similar experience when she reveals her attraction for Raymond to Eleanor, and is summarily rejected, just as she had rejected Frank, mirroring these experiences and exposing the subtle dichotomy between their respective vices.

Rebecca Sherr also notes from her essay,. This difference in outcome is based in the notion of visibility—racial difference cannot usually be hidden.

The film communicates that heterosexual, interracial desire could, in a sense, be seen as even more "queer" than homosexuality, at least in the context of queerness as visible deviance.

Their time together has the significance it does precisely because the social prohibition does not permit it.

Haynes created color palettes for every scene in the film, and was careful and particular in his choices. Haynes emphasizes experience with color in such scenes as one in which Cathy, Eleanor, and their friends are all dressed in reds, oranges, yellows, browns, and greens.

Haynes also plays with the color green, using it to light forbidden and mysterious scenes. He employs this effect both in the scene in which Frank visits a gay bar and when Cathy goes to the restaurant in a predominantly black neighborhood.

Blue is also a prominent color depicting Frank and Cathy's failing marriage, as highlighted in both the beginning of the film as Cathy receives a phone call for Hartford police concerning Frank and his "loitering", and as tensions rise to a boiling point when Frank makes his first visit to a psychiatrist to try and curb his homosexual tendencies.

It is in the moment where the only profanity in the entire film is used by Frank towards Cathy, further demonstrating the cold and bitterness Frank harbors towards her, perfectly in sync with the color palette that envelops them during this scene.

On one hand, Haynes makes straightforward and adroit use of classical convention in a fairly subtle and un-ironic way. On the other hand, moments of strong stylisation reveal a self-consciousness of form that announces its artifice.

The film's articulation of an autumnal orange motif exemplifies how Haynes reawakens dormant Hollywood conventions in a rather delicate expressive manner.

The more overt manipulation of coloured lighting, however, offers a test case. Red and green lighting broadcasts its artifice and its reference to Sirk, activating an awareness of form that Haynes nonetheless manages to align with our sympathy for his characters.

In his extensive use of blue light, though, Haynes exploits conventional motivations and the melodrama's generic tendency towards stylisation to exact a sincere and direct affective charge from colour temperature, in much the way filmmakers had done between the late s and s.

His project of self-conscious reference may, in fact, open room for Haynes to renew the classical convention in an emotionally direct way.

It is this play between citation and invocation of colour scoring that makes Far From Heaven so compelling. Haynes also uses shots and angles that would have been standard in Sirk's films and era.

Cinematographer Edward Lachman created the s "look" with the same type of lighting techniques and lighting equipment incandescent , and employs lens filters that would have been used in a s-era melodrama.

The script employs over-the-top, melodramatic dialogue, and Elmer Bernstein's score is reminiscent of those he had composed 40 and 50 years earlier.

The sound, done by Kelley Baker, also uses a lot of foley to make more prominent the sound of rustling clothes and loud footsteps, a sound technique that was used more in s-era film.

For example, instead of cutting to the next scene, Haynes sometimes lingers on a character for a few seconds longer than comfortable to the viewer, the same technique used by Fassbinder.

Another feature is when Cathy drives her car through town. Rather than filming inside the car as it actually moves, the car is filmed still with artificial backgrounds seen through the windows, reminiscent of older films.

Far from Heaven has received high acclaim from critics since its release. The critical consensus states: "An exquisitely designed and performed melodrama, Far From Heaven earns its viewers' tears with sincerity and intelligence.

As an example of the film's favorable reception among critics, Cole Smithey wrote that the "contrast of gritty dramatic material against an idealized — read fascistic — social atmosphere, makes for an enthralling movie experience".

They Shoot Pictures, Don't They? In August of that same year, BBC Magazine conducted a poll on the 21st century's greatest films so far, with Far from Heaven ranking at number The film did extraordinarily well in the Village Voice ' s Film Critics' Poll of , where Far from Heaven won for best picture, Moore for best lead performance and Haynes for best director and best original screenplay.

Lachman's work in Far from Heaven also won best cinematography by a wide margin while Quaid, Clarkson, and Haysbert were all recognized for their supporting performances, placing second, fourth and ninth, respectively.

The film is recognized by American Film Institute in these lists:. Far from Heaven was the last film scored by Elmer Bernstein.

The album's runtime is 42 minutes and 53 seconds. The musical opened at Playwrights Horizons in Spring of Kelli O'Hara starred in the central role.

From Wikipedia, the free encyclopedia. Far from Heaven Theatrical release poster. Jody Allen Christine Vachon. Main article: Far from Heaven musical.

Entertainment Film Distributors. British Board of Film Classification. November 8, Retrieved August 17,

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