Despite this, I cannot stop thinking about this film.
I suspect the tidy ending was dictated by the producers (aiming for a mass American audience & nominations for the film itself & Carey Mulligan) but then I also remember that Scherfig's other indie hit, Italian for Beginners, had a perhaps too tidy ending, as well.
I should reveal my disclaimer now. I have been a huge fan of Ms Mulligan for a few years now. I've seen her in The Amazing Mrs Pritchard, an episode of Miss Marple, the fabulous BBC Bleak House, and of course in the most recent film version of Pride & Prejudice.
An Education was shown at Sundance earlier this year. Ruthe Stein, of the SFChron, one of my favorite reviewers, raved about her, comparing her to Audrey Hepburn, a comparison that will become ubiquitous in print over Oscar season next year.
An Education was shown at Sundance earlier this year. Ruthe Stein, of the SFChron, one of my favorite reviewers, raved about her, comparing her to Audrey Hepburn, a comparison that will become ubiquitous in print over Oscar season next year.
Ms Stein's notice about Sundance was months ago. I have been patiently waiting for this motion picture. More information trickled in: Nick Hornby wrote the screenplay, it was based on a memoir, Dominic Cooper (one of the best actors working today) was in it, Peter Sarsgaard, who was also her co-star in The Seagull, New York and West End, was in it, Rosamund Pike was in it, Emma Thompson was in it and Olivia Williams from Rushmore and Spaced was in it. Finally when Renee and I sat down in the theater we learned Sally Hawkins was in it.
This film, ultimately, is full of great screenwriting, great performances, and is buffered by a sterling soundtrack (maybe Nick Hornby had something to do with that?)
Alfred Molina perfectly represents the early 60s English verisimilitude of a woman's place in society, he's desperate to get his daughter in to Oxford, but if an older, wealthy man would wed her, Oxford is forgotten.
Molina & Ms Thompson (and Hornby) are also almost pitch-perfect with England's (and probably most of Western Europe's) anti-semitism. Ms Thompson's speech about her Christian liberal guilt over the Holocaust, yet reminding Ms Mulligan that it was those of Ms Mulligan's boyfriend's faith that murdered 'our Lord' is sobering to say the least. Ms Mulligan's reply to this speech, "Our Lord was a Jew," is not essential to this critic, and reflects a weakness in Hornby's otherwise perfect script.
One of the best scenes in the film is The Auction, wherein the heroes of our film buy a pre-raphaelite painting for a mere 220 quid ($660 back then). Or the nightclub scene where an ultra-sexy Beth Orton sings as Ms Mulligan is introduced to a world that a sixteen year old, such as her, could only dream of. This scene contains one of Mulligan's finest moments. Her performance of the line, "I love the pre-raphaelites!" sums up my entire gay experiment in college.
Mulligan's other sterling moment is the virginity scene, before and after. She wrests control from her lover, twice her age, setting the rules for making love in an adult fashion to her condescending lover, and after the act, her curt, honest dismissal of it.
Mulligan's attraction I believe is due to her perfect nose, dimples, and deep voice. She is a great actress, too. Her reedy deep voice lends weight to her obviously young self. It barely defeats her performance in this film. It is obvious Ms Mulligan is not sixteen years old.
As intoxicated as I am with the notion that Ms Mulligan resembles Audrey Hepburn, I believe Ms Mulligan, despite her height and figure, more resembles Lauren Bacall. Which to tell the truth, is a trade-off I'd make in my sleep (I cannot stand Audrey Hepburn, except in Two for the Road.)
I fully expect An Education to get a Best Picture Nomination (there are 10! this year.) And Ms Mulligan will certainly get a Best Actress nomination. I think she has a better than not chance to make that walk in March. The Academy loves youngsters & grizzled veterans in this category and Ms Streep is in a comedy this year (Julie and Julia.)
This film, ultimately, is full of great screenwriting, great performances, and is buffered by a sterling soundtrack (maybe Nick Hornby had something to do with that?)
Alfred Molina perfectly represents the early 60s English verisimilitude of a woman's place in society, he's desperate to get his daughter in to Oxford, but if an older, wealthy man would wed her, Oxford is forgotten.
Molina & Ms Thompson (and Hornby) are also almost pitch-perfect with England's (and probably most of Western Europe's) anti-semitism. Ms Thompson's speech about her Christian liberal guilt over the Holocaust, yet reminding Ms Mulligan that it was those of Ms Mulligan's boyfriend's faith that murdered 'our Lord' is sobering to say the least. Ms Mulligan's reply to this speech, "Our Lord was a Jew," is not essential to this critic, and reflects a weakness in Hornby's otherwise perfect script.
One of the best scenes in the film is The Auction, wherein the heroes of our film buy a pre-raphaelite painting for a mere 220 quid ($660 back then). Or the nightclub scene where an ultra-sexy Beth Orton sings as Ms Mulligan is introduced to a world that a sixteen year old, such as her, could only dream of. This scene contains one of Mulligan's finest moments. Her performance of the line, "I love the pre-raphaelites!" sums up my entire gay experiment in college.
Mulligan's other sterling moment is the virginity scene, before and after. She wrests control from her lover, twice her age, setting the rules for making love in an adult fashion to her condescending lover, and after the act, her curt, honest dismissal of it.
Mulligan's attraction I believe is due to her perfect nose, dimples, and deep voice. She is a great actress, too. Her reedy deep voice lends weight to her obviously young self. It barely defeats her performance in this film. It is obvious Ms Mulligan is not sixteen years old.
As intoxicated as I am with the notion that Ms Mulligan resembles Audrey Hepburn, I believe Ms Mulligan, despite her height and figure, more resembles Lauren Bacall. Which to tell the truth, is a trade-off I'd make in my sleep (I cannot stand Audrey Hepburn, except in Two for the Road.)
I fully expect An Education to get a Best Picture Nomination (there are 10! this year.) And Ms Mulligan will certainly get a Best Actress nomination. I think she has a better than not chance to make that walk in March. The Academy loves youngsters & grizzled veterans in this category and Ms Streep is in a comedy this year (Julie and Julia.)
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