“The Hours” is a thought provoking story comprised of three seemingly distinct strands, all of which are loosely and elegantly braided to form an emotionally stimulating whole. If that wasn’t enough, it’s also an actor’s dream. A large, highly-accomplished cast of supporting players shares the screen effectively with the big three (Oscar winner Nicole Kidman, Julianne Moore and Meryl Streep).
First things first: Kidman deserved her statuette. In one of the most unglamorous of all possible roles, as Virginia Woolfe, Kidman calls on her talent – not her considerable beauty – to convey wisdom, world weariness, great sadness and just a bit of mischievousness. When her husband displeases her, she inclines her head sharply and looks out from beneath an unkempt hank of hair, peering through dark eyes down that great prosthetic nose in loving disapproval. Her Virginia Woolfe is horribly troubled, to be sure, but never irrational. Her despair is matter-of-factly expressed with a concise logic that is simply chilling. Plainly put, the viewer comes to care deeply for the tragic heroine, Virginia Woolfe, even as we know from history that she is a doomed character. How does an actor compete with that? I certainly don’t know, but damned if Julianne Moore isn’t very nearly up to the task. Moore plays Laura Brown, a suburban, American housewife and mother of one (soon to be two) in 1951. As we meet her, she is reading Woolfe’s novel, “Mrs. Dalloway,” and – like the book’s titular character – she, too, is unhappy through and through. She is suffocating under the weight of her very existence, craving adult company, straining under the yoke of inactivity, trapped in a life she never wanted. Her story unfolds slowly throughout the film, culminating several decades later with a gut wrenching final scene. Moore has such soulful eyes and a luminous, almost transparent skin, allowing the viewer to peer into her deepest self. And – finally – Streep! She brings the story home as a modern day sort of Mrs. Dalloway. I don’t know of anyone who would describe Streep as the sexiest of actresses; however, she has always possessed extraordinary radiance, such a sharp intelligence and a remarkable inner beauty that she seems almost on-the-verge of bursting with human kindness, and these qualities have never served her better. Her character is called Clarissa Vaughan, a woman who has lived in the service of others, while never quite able to make the ultimate connection for herself. Sadness pervades her story, as well, but it is a sadness imbued with hope by story’s end. There is a fundamental and abiding truth to the method of Meryl Streep, and indeed, a large dose of truth in the performances of the entire cast. There simply isn’t space to give credit where credit is due. Among this magnificent group of supporting players, Ed Harris stands out as Richard, a poet and novelist suffering mightily from AIDS. Richard is the subject of Clarissa’s unfailing care, and his is a performance full of anger, bitterness, sadness, disappointment and – amazingly – love. Allison Janney is superb as Clarissa’s lover, suffering in her own dignified way from the increasingly great burden of emotional distance. Jeff Daniels gives an intentionally befuddled performance as Richard’s ex-lover. Claire Danes’ career as a headliner didn’t exactly take off like a rocket, but in “The Hours,” she has wisely accepted a small role as Clarissa’s daughter. It’s easy to see what all the fuss was about a few years ago when she starred on the small screen in “My So Called Life.” John C. Reilly is his usual solid self as Laura Brown’s husband. (Quite a year for Reilly, as he also did stellar work in “Chicago.”) Jack Rovello is a little heartbreaker as Laura’s young son, Richie, and the remarkably versatile Toni Collette has one and only one scene, but it is a brilliant study in film acting. The things unsaid transcend the spoken word, and a simple glance communicates unerringly with a delicate, awkward grace. In the Woolfe segment, Stephen Dillane stands out as Leonard Woolfe. Where they found this guy, I don’t know, but he plays a difficult role with just the right blend of frustrated exasperation, anger, sadness, abiding kindness, and – once again – love. Natasha Richardson is just fine as Virginia Woolfe’s sister, and Linda Bassett has some sparkling little moments as the cook. Rarely has there been a film where so many performers deserve so much praise. In reading the paragraphs above, you might deduce that the film is about sadness, mental illness, kindness and love. You’d be right. It’s not the easiest film to watch, but it is well worth the effort. Based on a novel by Michael Cunningham, David Hare’s screenplay cleverly segues from one story into the next. Cunningham’s book presents many obstacles to screenwriter and filmmaker alike, but Hare has simply made those difficulties disappear.This is director Stephen Daldry’s second major film following 2000’s completely charming “Billy Elliot.” I can only conclude that Mr. Daldry is the real deal. These actors, after all, didn’t direct themselves (not even Meryl Streep). Additionally, Daldry and Scott Rudin have assembled an outstanding creative team. Phillip Glass has composed a score that is immediately recognizable as his, but never in a way that distracts from the story. He has written a theme for each central character and scored the film in such a way that the music heightens the story. Costumer Ann Roth was required to dress characters from three distinct eras here, and has risen to the challenge in a most satisfactory manner. Virginia Wolfe’s dresses are delightfully shapeless sacks. Laura Brown wears the carefully tailored fashions of the Fifties, while Streep’s Clarissa is smartly dressed as a modern, dynamic woman. “The Hours” is simply an outstanding example of the collaborative effort that is filmmaking. A compelling story, skillfully adapted for the screen. Technically skilled craftspeople and artisans providing just the right look to every frame. And finally, supremely talented actors giving life to complex characters. Two hours very well spent. Grade: ATHE EXTRASBonus materials included with “The Hours” DVD are about as extensive as one could hope for in a single disc package. There are two commentaries, one from the film’s stars, Kidman, Moore and Streep, and another from director Daldry and novelist Cunningham. The three stars were obviously recorded separately, which is a bit disappointing as it allows for no interaction between this extraordinary triumvirate of top shelf performers. While the whole thing has been meticulously edited to give a seamless effect, one can only imagine what these three might’ve said had they been speaking directly with one another. With that given, each woman offers a meaningful glimpse into the filmmaking process from the actor’s perspective. It’s also fascinating to hear how their acting styles differ. Kidman, for instance, likes the rehearsal process (as does Daldry), while Moore prefers as little rehearsal as possible. Of the three, Streep is the warmest, most engaging commentator. She is a supremely intelligent artist, very comfortable in her own skin. As for Daldry and Cunningham, theirs is the more entertaining commentary. In contrast to the “the big three,” they quite obviously were present together as the recording was made, resulting in the same sort of interplay that was missing from the other. Daldry is very British and very proper (there’s a redundancy for you), while Cunningham is the somewhat more relaxed American, and the combination is most engaging and informative. They are full of insights regarding many aspects of filmmaking, including their thoughts on the actors, the locations, Cunningham’s novel (and ways in which the screenplay differs from it), and some fascinating background on Virginia Wolfe herself. They also enjoy a good laugh (or at least a hearty chuckle) from time to time, helping to lighten the tone a bit. “The Hours” is many things, but a comedy it is not, so the occasional humorous interjection is much appreciated. Also included here is an introduction from Daldry and a piece entitled “The Three Women.” Here, the difficulties presented by the lack of interaction in the first commentary disappear as we actually see the three divas (out of costume and out of character) gathered together for an informal discussion. These regrettably brief segments give us the rare opportunity to watch three movie stars of the highest order as they reminisce and laugh together, just the ingredient missing from their commentary. A properly scholarly piece on “The Mind and Times of Virginia Woolfe” provides plenty of historical context for the intellectually challenged among us (myself included). “The Music of the Hours” is explored in another segment featuring the comments of the brilliant composer himself, and the chance to actually see Phillip Glass sit at the piano and play a bit of his score. Rounding out the featurettes is a short piece on the novel, “Mrs. Dalloway.” Most interesting are remarks from novelist Cunningham, who consistently comes across as a genuinely charming and witty gentleman. It’s an outstanding collection of materials, well presented throughout. I found Cunningham and Streep to be the most engaging personalities; the individuals I’d most like to sit down with and chat for a while over an ice cold beverage, though – honestly – all of the talented people appearing throughout these commentaries and featurettes come across quite well. “The Hours” is a significant film, one that might have benefited from two-disc treatment, but – on the whole – it ranks as one of the better DVD packages I have explored, to date. Grade: B+By Ralph MangumJune 27, 2003