★★★いつか眠りにつく前に★★★ 映画動画 Movie : Evening
|
＋アニメ 目次 ＋ドラマ、映画 目次 ＋ゲーム 目次 ＋GyaO アニメ ＋GyaO ドラマ ＋GyaO 映画 ＋GyaO ゲーム ＋GyaO 音楽 ＋GyaO バラエティ ＋GyaO アイドル・グラビア ＋GyaO スポーツ |
>>>blogranking.net >>>今日のアニメランクFC2 >>>アニメを視聴blogmura >>>漫画アニメblog ranking >>>アニメ動画を見る >>>ドラマ動画を見る >>>映画動画を見る >>>blogpeople >>>ＨＯＭＥに戻る |
いつか眠りにつく前に（Evening）は、2007年製作のアメリカ・ドイツ合作映画。日本では2008年2月23日に公開。スーザン・マイノットの小説原作。人生の終わりに直面した老女の若き日の恋愛の回想と、彼女を看病しながら自らの人生を見つめなおす2人の娘たちの姿を描いたドラマ。
メリル・ストリープと実娘であるメイミー・ガマーがそれぞれライラの若き日と現在役を演じ、ヴァネッサ・レッドグレイヴ演じるアンの長女役をヴァネッサの実娘であるナターシャ・リチャードソンが演じている。
[編集] キャスト
クレア・デインズ：アン・グラント（24歳のアン(旧姓)）
ヴァネッサ・レッドグレイヴ：アン・ロード（現在のアン）
メリル・ストリープ：ライラ・ロス（現在のライラ）
メイミー・ガマー：ライラ・ウイッテンボーン（24歳のライラ(旧姓)）
ヒュー・ダンシー：バディ・ウィッテンボーン
グレン・クローズ：ウィッテンボーン夫人
バリー・ボストウィック：ウィッテンボーン氏
ナターシャ・リチャードソン：コンスタンス
トニ・コレット：ニナ
パトリック・ウィルソン：ハリス・アーデン
アイリーン・アトキンス：夜勤の看護婦
[編集] ストーリー
この節は執筆中です。加筆、訂正して下さる協力者を求めています。
重い病で寝たきりになっているアンを見守る2人の娘たちは、彼女が「ハリス」という知らない男性の名前を何度も口にすることを不思議に思っていた。そんなアンの朦朧とした意識は40数年前、親友の結婚式があったある夏の日へとさかのぼっていた。
Evening is a 2007 American drama film directed by Lajos Koltai. The screenplay by Susan Minot and Michael Cunningham is based on the 1998 novel of the same name by Minot.
Plot synopsis
The film alternates between two time periods, the 1950s and the present, in which a dying Ann Grant Lord reflects on her past. Her confusing comments about people she never mentioned before leave her daughters, reserved Constance and restless Nina, wondering if their mother is delusional.
As a young woman in her early twenties, cabaret singer Ann arrives at the spacious Newport, Rhode Island home of her best friend Lila Wittenborn, who is on the verge of getting married. Lila's brother (and Ann's college friend) Buddy introduces her to Harris Arden, the son of a former family servant. Buddy tells Ann his sister always has adored Harris, and expresses his concern that she's marrying another man out of a sense of duty rather than love. Inebriated, Buddy passes out, and as Ann and Harris chat they find themselves bonding.
On Lila's wedding day, she confesses to Ann she confronted Harris with her feelings for him and he rebuffed her, so she goes along with the ceremony as planned. At the reception, at Lila's request, Ann sings a song and is joined on stage by Harris. Afterwards Buddy, drunk again, confronts the two about their growing closeness and kisses Harris. As Lila prepares to depart with her new husband, Ann offers to take the bride away with her, but Lila refuses and leaves for her honeymoon.
Buddy admits to Ann he's had a crush on Harris since they were young but is certain his family never would accept his bisexuality. He also confesses he has loved Ann ever since their college days, offering as proof a note she once sent him he has kept in his pocket ever since. Ann later expresses her anger at him for repressing his sexual orientation by building her up as his true love. She and Harris slip off to his secret hideaway, where the two make love.
Buddy, in search of the couple, stumbles into the road and is hit by a car. His friends find him, but too late to save his life. The following morning, Ann and Harris, oblivious to what transpired the night before, jokingly consider sailing away, but at the Wittenborn house they hear the tragic news.
In the present day, Lila arrives at Ann's bedside to comfort her and reminisce. Ann recalls a day when she ran into Harris in the street in New York City. By then, she was a wedding singer, unhappily married with two young daughters, on the verge of moving to Los Angeles, and he was married with a son. He intimated he still loved her before the two exchanged cordial goodbyes.
As Lila leaves, she tells Nina about Harris and reassures her that her mother did not make any mistakes in her life. Nina sits with Ann, who encourages her daughter to have a happy life. Nina finally musters up the courage to tell her boyfriend Luc she is pregnant with their child. An ecstatic Luc proudly announces the news to Constance and promises he always will be there for Nina. Their joy is interrupted by Ann's nurse, who urges the women to rush to their mother's bedside to bid her farewell.
[edit] Production notes
The original screenplay, as was the novel, was set in Maine, but according to the commentary on the DVD release of the film, director Lajos Koltai was so taken with the Newport house found by his location scouts he opted to change the setting. Tiverton and Providence, Rhode Island, Greenwich Village, and the Upper West Side of Manhattan also were used for external scenes.
The song "Time After Time" Ann sings for Lila at the wedding was written in 1947 by Sammy Cahn and Jule Styne. The song "I Hear the Moon" she later sings to her daughters is based on a traditional nursery rhyme.
The film grossed $12,406,646 in the US and $478,928 in foreign markets for a total worldwide box office of $12,885,574 [1].
[edit] Principal cast
The 1950s
Claire Danes ..... Ann Grant
Mamie Gummer ..... Lila Wittenborn
Patrick Wilson ..... Harris Arden
Hugh Dancy ..... Buddy Wittenborn
Glenn Close ..... Mrs. Wittenborn
Barry Bostwick ..... Mr. Wittenborn
The Present
Vanessa Redgrave ..... Ann Grant Lord
Toni Collette ..... Nina
Natasha Richardson ..... Constance
Meryl Streep ..... Lila Wittenborn Ross
Ebon Moss-Bachrach ..... Luc
Eileen Atkins ..... Night Nurse
[edit] Additional production credits
Production Design ..... Caroline Hanania
Art Direction ..... Jordan Jacobs
Set Decoration ..... Catherine Davis
Costume Design ..... Ann Roth
[edit] Critical reception
Manohla Dargis of the New York Times said, "Stuffed with actors of variable talent, burdened with false, labored dialogue and distinguished by a florid visual style better suited to fairy tales and greeting cards, this miscalculation underlines what can happen when certain literary works meet the bottom line of the movies. It also proves that not every book deserves its own film." [2]
In the San Francisco Chronicle, Mick LaSalle observed, "The film arrives at a pessimistic and almost nihilistic view of life as something not very important - and then invites us to take strength and comfort in the notion. It's not what you'd expect, and it's certainly not the typical message. It might be the most interesting thing about the picture." [3]
Peter Travers of Rolling Stone rated the film 2½ out of a possible four stars and commented, "the actors . . . provide flashes of brilliance. Hugh Dancy scores as the plot's catalyst for tragedy. And Claire Danes is stellar as the young Ann . . . [Mamie] Gummer proves her talent is her own in a star-is-born performance that signals an exceptional career ahead." [4]
In the St. Petersburg Times, Steve Persall graded the film C and added, "Strong performances and an author's weak backbone make Evening a curious mistake . . . [it] is memorable only for lovely period designs and for casting mothers and daughters to ensure better continuity." [5]
Justin Chang of Variety said, "The more immediate problem with this ambitious, elliptical film is Koltai and editor Allyson C. Johnson's difficulty in establishing a narrative rhythm, as the back-and-forth shifts in time that seemed delicately free-associative on the page are rendered with considerably less grace onscreen. In ways reminiscent of Stephen Daldry's film of The Hours, the telling connections between past and present feel calculated rather than authentically illuminating." [6]
In Time, Richard Shickel said the film "represents perhaps the greatest diva round-up in modern movie history . . . Wow, you might think, how bad can that be? To which one responds, after two lugubrious hours in their company, really awful. Rarely have so many gifted women labored so tastefully to bring forth such a wee, lockjawed mouse . . . This may in part because it was Michael Cunningham, author of the book The Hours, another stupefying exercise in unspoken angst, who was hired to punch up the script Susan Minot was trying to make out of her novel. They share screenplay credit for Evening, but even in the press kit you can sense her loathing for his work. He's sort of Henry James without the cojones and definitely the most constipated sensibility the literary community has lately been in awe of. But I suspect that the director, Lajos Koltai, a Hungarian, has even more to do with the film's inertness." [7]
