Some things I liked some I did not.

it is the rare 'crazy' movie that actually has something to say.

The acting is good, and the firecracker script has some excellent ideas.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

First of all, I want to make it clear that I have not read the book this is based on, or have seen the previous film-adaptation. I watched it for two reasons: HBO and Winslet.In "Mildred Piearce", we look mostly through the eyes of a struggling American woman, between the early and late 1930's. Without spoiling much, her new big chapter in life begins with a marital disaster. Mildred is put in a desperate position where she has to overcome her own boundaries to be able to maintain her two children.Although it's pretty much a kitchen-sink drama with feminist undertones, it's done well. The production values and talent behind this five part miniseries are top-notch. Add an excellent performance by Kate Winslet and overall good acting by the rest of the cast, and you are fully transported back in time. Besides Kate, who has center-stage, I was very impressed by the unknown-to-me Morgan Turner as the younger version of the daughter Veda. Evan Rachel Wood plays her in the latter parts, and it's such a fitting casting choice that you might think they're the same person.I was a bit underwhelmed by Guy Pearce's role, expecting more screen- time from him. But his character is very important to the story and he certainly incarnates a spoiled eccentric playboy perfectly."Mildred Pierce" reminded me a lot of "Revolutionary Road", with it's similar narrative tone.

Classic film fans know well the 1945 "Mildred Pierce" that won an Oscar for its star, Joan Crawford, providing her the comeback vehicle after being fired by MGM.Due to censorship restrictions, the film's story deviated somewhat from the book and, because Crawford was the star, the focus was kept on her, rather than enlarging the story to include Veda's career. Also, several of the characters were combined or omitted.This version, starring Kate Winslet, Guy Pearce, Melissa Leo, Mare Winningham, Brian O'Byrne, and Evan Rachel Ward sticks to the James Cain novel, with dialogue actually lifted from it.The five-part drama still tells the story of Mildred and her obsession with her class-conscious, cold, spoiled, brat daughter Veda and the destruction this obsession costs the hard-working Mildred.As is usual with HBO, the production values are fantastic, perfect in setting the atmosphere of the '40s and the mood of the story. The top-notch acting adds to it, and while there may not have been enough story for the time allotted, it's still excellent, particularly if you have read the novel and/or seen the film.I can't imagine two actresses more different from one another than Kate Winslet and Joan Crawford, and the differences are highlighted here to interesting effect. Crawford played Mildred as strong yet vulnerable; it's an overt performance, as were all of her performances. Her Mildred lets Veda and Monty get away with taking advantage of her. Winslet's Mildred is more insecure, and her strength is inner in that she's a survivor. Her Mildred doesn't seem to realize that Veda and Monty are taking her for a ride, and she comes off like a sap. A sympathetic sap, but a sap nonetheless. In a way, it makes her reaction (taken from the book) when she does realize it all the more powerful.Guy Pearce sounds like Zachary Scott in the film, and he's marvelous with just the right touch of sleaze. As Bert, Mildred's ex-husband, Brian O'Byrne, who was the star of Doubt on Broadway, is excellent. Both Evan Rachel Wood and Morgan Turner (Veda as a child) were wonderful showing Veda's detached, frosty personality. It was episode 3 before I realized that Ida was played the remarkable Mare Winningham, who brightens every film she does. Melissa Leo was wasted as Lucy, but good nonetheless. And a special nod to Leslie Lyles, who played the woman in the employment office - she was a perfect '40s character.The rest of this review is for people interested in the singing in the film.Since James Cain was an aspiring opera singer at one time and the son of an opera singer, opera sometimes enters into his stories, as it does here. Some of the operatic selections for Veda here fit the story, particularly Der Holle Rache (mother-daughter), the Bell Song (luring men with one's voice), and the Casta Diva from Norma. As in the book, she's a coloratura soprano, which her teacher tells Mildred is rare. Not really. The rarest voices in opera are the bass, the heldentenor, and true dramatic sopranos and true dramatic mezzos. I say "true" because often their roles are sung by spintos or even big lyrics.In the HBO film, Veda has an odd repertoire which includes La Mamma Morta, a lyric spinto or dramatic soprano aria -- chosen because it fits Veda's feelings and personality. For instance, the aria contains the line "Porto sventura a chi bene mi vuole! (Evil to those who love me well!) Truer words were never sung. In her concert at the Hollywood Bowl, she sings from Barber of Seville, today sung by a mezzo, but probably back then, a coloratura, and her radio aria is Je Suis Titania, also a coloratura aria.The vocal experts for the 2011 version did not want Veda singing Casta Diva since it is an incorrect choice for a) a young singer and b) her voice, but due to the fact that it's about a love triangle, it was chosen. Sumi Jo, whose recordings dubbed Turner, obviously had never sung Casta Diva, so a recording by Edita Guberova was used instead.Evan Rachel Wood was criticized for lacking correct expression and being too concerned with the lip-synching. I'd like to see the person who made that comment lip synch in Italian and German.

I have not read the book, but I have read that this adaptation was quite faithful to the book. The classic movie was not; it was made as a melodramatic murder mystery with Joan Crawford as a Grand Dame Mildred. Thus, the movie was great entertainment, but as a life lesson, as a cautionary life story, it was nonsense. This version was far superior as a story the average person could identify with. Great sets, clothing, cars, even minor period detail. I'm glad I saw it and I would recommend it to others, but...It does really drag in places. I appreciate what I learned about opening a restaurant, but such detail only slowed down a story which was mainly about other things. While the camera lingers on Veda, and lingers, and lingers, little attention is given to explaining Mildred's developing financial problems. Emotional explosions may go on too long.I'm glad that this miniseries was made. I wouldn't have wanted it made any differently, but quite a few people will find it tedious.

My god, what's happening to HBO? First Hemingway and Gelhorn and now this! Okay, so it's the depression. But in the opening scene everything in Mildred's house is so clean and new it sparkles! Endless, endless shots of luscious cake batter and fresh eggs being lovingly stirred.Then enter the husband. Never, ever has there been such stilted dialogue. Kate Winslet's American accent is dry, arid, and lifeless. She doesn't have any bounce, any wit, any energy, any anything. And her bland husband is a cad for playing around? Oh, and listen to them argue. They sound like flight attendants reading the exit manual! So then the daughters enter. They're almost cute, for a minute or two. But no, the older one is evil. I mean, eeeevil! Oh, and Mildred has to learn how to be a skank with careful coaching from her neighbor.I tuned out. Don't waste your time!