I consider this film wonderful, and any praise I have for it has already been said, and recognized, on this excellent thread of reviews. However...
A couple of observations of this film's brilliant sense of detail I have to mention. The first is a case of what I think is mistaken interpretation.
Much has been said about the colour saturation of the flashbacks, compared to the contemporary storyline (dull grey compared to vibrant) and I have to respectfully disagree. I think this is based on a certain, strikingly done, sequence.
I experienced a three-quarters eclipse here in Montreal, during the 1990s. That eerie, other-worldly cast of colour on the world was like nothing I've seen ever since. Except in "Dolores Claibourne"! That sense of colour, during the "murder sequence", was the work of an art director who has seen an eclipse and registered its exact look, and recreated it precisely for this movie., with a perfect sense of colour.
What has been praised as the symbolic was, in fact, a brilliant approximation of a visual reality rarely seen.
My other observation, much more modest, is how people tend to absorb the speech patterns, and witticisms, of those most important in one's life. Notice Vera saying Dolores "has a hair across her ass" -- guess whose repertoire that expression came from. Then, notice how many of Dolores's big statements are essentially paraphrases of Vera's grand bon mots from the past, as we find out in flashbacks. ("Sometimes all a woman has left is being a bitch...")
A huge part of these women's unlikely friendship is a mutual intellectual fascination.
A couple of observations of this film's brilliant sense of detail I have to mention. The first is a case of what I think is mistaken interpretation.
Much has been said about the colour saturation of the flashbacks, compared to the contemporary storyline (dull grey compared to vibrant) and I have to respectfully disagree. I think this is based on a certain, strikingly done, sequence.
I experienced a three-quarters eclipse here in Montreal, during the 1990s. That eerie, other-worldly cast of colour on the world was like nothing I've seen ever since. Except in "Dolores Claibourne"! That sense of colour, during the "murder sequence", was the work of an art director who has seen an eclipse and registered its exact look, and recreated it precisely for this movie., with a perfect sense of colour.
What has been praised as the symbolic was, in fact, a brilliant approximation of a visual reality rarely seen.
My other observation, much more modest, is how people tend to absorb the speech patterns, and witticisms, of those most important in one's life. Notice Vera saying Dolores "has a hair across her ass" -- guess whose repertoire that expression came from. Then, notice how many of Dolores's big statements are essentially paraphrases of Vera's grand bon mots from the past, as we find out in flashbacks. ("Sometimes all a woman has left is being a bitch...")
A huge part of these women's unlikely friendship is a mutual intellectual fascination.
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