just watch it!

Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

I usually don't review a film which already has this many reviews, but I'm going to make an exception this time because this film is just not right. It's a well-meaning film; I'm convinced of that. But it just is off kilter and unrealistic.First we have the conflict between husband and wife as the husband more or less surrenders to his gay sexuality. Good topic for a film. But the way it's portrayed is "unreal"...and dark (literally)...and does not provide Dennis Quaid with any opportunity to provide any depth to his character. In fact, the way it's handled makes it quite clear that this film belongs to Julianne Moore. Moore gives a good performance here, but again it seems like an unreal portrayal of a housewife, even back then.Second, we have the conflict between 2 people struggling in a time of segregation. This comes off somewhat more realistically...but not much. For example, when Dennis Haysbert takes Moore to the Black bar/restaurant; that didn't fit his sensitive character as portrayed in the film. Again, Haysbert doesn't get a chance to delve into his character more than superficially. Again, Moore's film.I know this film has received lots of kudos. I just don't agree.

Set in suburban Connecticut in 1957, this story of a housewife whose world suddenly starts to unravel, is told with a kind of frankness that wouldn't have been possible in the 1950s because of the Production Code. The stark difference between the reality and the outward appearance of the lives of a group of middle-class people is brilliantly illustrated by the ways in which issues such as homosexuality and interracial love are dealt with in a milieu in which the importance of conforming to bourgeois standards is absolutely paramount. The emotional pain that this inflicts on some individuals is obviously intense and provides a great deal of the raw material for this high-quality melodrama.As an acknowledged admirer of Douglas Sirk who directed a series of highly successful domestic dramas in the 1950s, it's understandable why director/writer Todd Haynes was attracted to the idea of utilizing the Sirkian style for "Far From Heaven", especially as this story features similar themes to those featured in Sirk's movies. The result is a film that looks as if it could've been made in 1957 and as a consequence, is very authentic-looking and enjoyable to watch.To all appearances, Cathy Whitaker (Julianne Moore), who lives in a beautiful house in Hartford, Connecticut, is the perfect wife, mother and homemaker. Always beautifully dressed and good humoured, she takes pride in being seen as part of the ideal couple that the townsfolk affectionately call "Mr & Mrs Magnatech". Magnatech is the television advertising company where Cathy's husband Frank (Dennis Quaid) is employed.One day, Cathy sees an unfamiliar black man in her garden and after chatting to him discovers that he's the son of her regular gardener who'd been taken ill some time ago. Raymond Deagan (Dennis Haysbert) informs her that his father had recently passed away and in an expression of sympathy, Cathy reaches out and touches his shoulder and later learns that Raymond is a widower with an 11-year-old daughter and that he's also inherited his father's business.On one of the many nights when her husband is late coming home, Cathy decides to take a meal to his office and is shocked on arrival there to discover Frank locked in a passionate embrace with another man. After this incident, the couple agree that Frank will seek help from a psychiatrist who advises that aversion therapy might prove helpful although success is, by no means, guaranteed.When Cathy attends a local art exhibition which her best friend Eleanor Fine (Patricia Clarkson) was involved in arranging, she meets Raymond and they enjoy a pleasant conversation about the merits of a Joan Miro painting. Cathy is unconcerned by the disapproving looks that their conversation attracts and later asks Raymond how he feels in a situation (such as at the art exhibition) where he's the only one of his colour present and he responds by inviting her to a local bar and restaurant that's patronised exclusively by black customers. Their presence there also attracts hostility and disapproval but probably more significantly, is witnessed by one of the town's leading gossips who spreads some rumours that lead to Cathy's daughter being ostracised from her group of friends at her ballet club and Frank expressing disapproval of her conduct.Cathy's friendship with Raymond remains platonic but Frank becomes physically abusive to her and drinks heavily as he struggles desperately, without success, to conform to the standards of his intolerant friends and neighbours. In an effort to repair the damage done to their relationship by all that's happened, the couple go on a holiday to Miami, Florida, but this doesn't prove to be the answer to their problems.The overall visual look of this movie is absolutely magnificent and powerfully evokes that of many 1950s' productions and Douglas Sirk's in particular. Its cinematography is also spectacularly good and effective in the way in which light, shadow, colours and certain camera angles reflect the mood of what's happening on-screen. With moving performances from its talented cast, "Far From Heaven" stands out as a powerful, thought-provoking and memorable work of the highest calibre.

Hartford, Connecticut, 1957. Frank and Cathy Whitaker are what people might name "The American Dream come true": he's a successful salesman, she's a devoted housewife in charge of a perfect house in the suburbs and two lovely children, and committed to the social causes of the time. But this will fall apart when Cathy discovers a shocking truth about Frank, and she finds solace in Raymond, the black gardener, which will make her the center of the town's gossips.Todd Haynes has declared himself as a great admirer of the highly stylized melodramas made back in the 50's (especially the ones directed by Douglas Sirk: Imitation of Life and All that heaven allows). His third feature Far from heaven is an open homage to these movies, and it's also a compelling approach for younger audiences to an often forgotten genre. Haynes' splendid screenplays offers a sharp gaze to social troubles that sadly still remain just like in the 50's: sexual preferences treated as a disease and racial discrimination towards black people (let's remember they basically had zero rights at that time). In addition to this, tells a poignant story about forbidden love following the rules of melodrama (a plot that appeals to the heightened emotions of the audience, suffering protagonists (usually heroines) facing tremendous social pressures, threats, repression, fears, etc), escaping its clichés and conventionalities skilfully. As mentioned, in Far from heaven, Haynes' intention is to accomplish a faithful recreation of the old-fashioned period dramas in which production values become another character of the movie (an essential one). Thus, Haynes' creative team is able to put together a visually-striking gem: from Edward Lachman's exquisite cinematography, Sandy Powell's alluring costumes and Elmer Bernstein (in one of his final works) and his evocative music (it's not an accident the fact that Haynes chose him to score the movie, since he worked in several of those period pieces): all of them are perfectly assembled without overshadowing the final result. The third element that makes this movie so powerful and compelling is the acting: Haynes trusts in Julianne Moore's tremendous range and she portraits Cathy's tribulations with an affecting honesty (this is one of her top performances, for which she won the Best Actress Award at the Venice Film festival and received an Oscar nomination, among many other awards). Then there's Dennis Quaid, delivering the best performance of his career: as Frank he embraces his confusion and pain brilliantly, and creates empathy for a man whose "sin" to live a lie and hide his true desires. And behind them, there's a firs-rate supporting cast, including Dennis Haysbert as Raymond, the gardener who will comfort Cathy (even though this might cause him some pain) and Patricia Clarkson and Viola Davis in strong turns. With this movie, Todd Haynes let us know his superb skills as director by taking in a misunderstood genre, infuse it with new life and keeping its essence at the same time.

I decided to seek this one out because of Julianne Moore. I thought it would be just another well-acted period drama. What I didn't know was that Todd Haynes was behind it, and from the opening the film lets you know what kind of style it will be. It's not one of those stuffy period dramas. In fact, it's very much made in the style of actual 1950s films. It's apparently taking on the style of Douglas Sirks' films, and even though I have never seen one, the style is apparent. This is the definition of a melodrama, but it serves the purpose completely and not the type of melodrama you would expect in this day and age. Everything is heightened in it's intensity. The incredible cinematography and use of colors is something to marvel at, and in terms of how the cinematography was constructed I don't think any other film could compare to. The beautiful music score is perfect and it only makes the atmosphere richer. All of this serves as a backdrop to a film that's really about contemporary issues in the 50s. That in itself has been the focus of many films in the last few years, but Far From Heaven stands apart from them all. The screenplay is brilliantly written, infusing rich backgrounds and characterization to all of the characters. In fact, the plot is pretty straight-forward and something you would see in classic films of that era, but now it feels fresh, alive with excitement. It's never depressing, and instead it tells its story until a satisfying conclusion. It's probably one of the best screenplays of its decade.The performances are also perfect. But Julianne Moore tops off this perfection. I was surprised by how little "big" scenes she has. I would have expected this film to, but then again that's just another surprise. She embodies this character completely, and now that we have all of these flawed and unlikable leads, here we have one who we can easily call a "hero". Someone who others could look up to, we instantly connect with Moore. Overall, Far From Heaven is the 2nd Haynes film I have seen (the other being I'm Not There), and still his ambition is as apparent as ever. This feels as unique of a film as one could hope for.