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But we have seen, in an early scene, that there is no conversationaround the Johnson family dinner table. The story never makes the mistake of portraying Richard Johnson as a badhusband. Not understanding quite how tied she is to the land, hesuggests her husband could take her "on a safari." Her smile showswhat a wild idea that is. Lifeon the farm is "not what I dreamed of when I was a girl." She envieshis life of travel. The notion is enormously attractive to her. They understand that Richard and Francesca are notfalling in love with each other, exactly - that takes time, when you aremiddle-aged - but with the idea of their love, with what Richard calls"certainty." One of the sources of the movie's poignancy is that theflowering of the love will be forever deferred they will know they are rightfor each other, and not follow up on their knowledge. Green, find a wonderful play of light, shadowand candlelight in the key scenes across the kitchen table, with jazz and bluesplaying softly on a radio. Very quietly.Įastwoodand his cinematographer, Jack N. In another scene, she answers thetelephone and, standing behind him, adjusts his collar, brushes his neck withher finger, and then leaves her hand resting on his shoulder. Sheseems happy there is a lift in her heart. Oneof the story's mysteries is just when each of them becomes erotically aware ofthe other, and there is a moment, when he goes out to get beer from the car,and she pauses while preparing salad, when she not quite smiles to herself. Photographer and housewife meet,and an awkward but friendly conversation leads to an offer of iced tea thenshe shyly asks him to stay for dinner. Francesca's husband and children have left home forseveral days to go to the Illinois State Fair. Kincaidis a photographer for National Geographic, shooting a story on the coveredbridges of the county. The two of them construct their performances not out of grandgestures, but out of countless subtle little moments of growing love a timecomes when they are solemn in the presence of the joy that has come to them. There is still a tendency to identify Eastwood withhis cowboy and cop roles, and to forget that in recent years he has grown intoone of the most creative forces in Hollywood, both as an actor and a director.He was taking a chance by casting himself as Robert Kincaid, but it pays off ina performance that is quiet, gentle and yet very masculine.ĪndStreep wonderfully embodies Francesca Johnson, the Italian woman who findsherself with a husband and children, living on a farm in the middle of a flatIowa horizon. Readershad already cast it in their minds, and not with Eastwood - or with MerylStreep, for that matter. WhenEastwood announced that he had bought the novel and planned to direct and starin the movie, eyebrows were raised. This moment, and not themoment when the characters first kiss, or make love, is the film's passionateclimax.
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Theemotional peak of the movie is the renunciation, when Francesca does not openthe door of her husband's truck and run to Robert. If the story had ended "happily" with them running awaytogether, no one would have read Waller's book and no movie would exist. We know, of course,that they will meet, fall in love and part forever. Itis easy to analyze the mechanism, but more difficult to explain why this filmis so deeply moving - why Clint Eastwood and Meryl Streep have made it into awonderful movie love story, playing Robert and Francesca. Waller'sgift is to make the housewife feel virtuous afterward.