Connections Edited into The Clock User reviews Review. Top review. Meryl from Bari. When the soul of a movie is reflected in an actor's eyes then you have a miracle, you have something that's going to last. I never thought for a moment that she, no matter how wonderful an actress she is, could fool me.
Meryl Streep could never be Italian. Well, there I was, thinking and pre-judging like people I detest. I was so wrong. Not just because she fooled me, although there is no fooling involved here.
She won me over. I forgot she was Meryl Streep, the actress, and I lived Francesca's story to the fullest because, I suppose, that's the mystery of great acting, I was confronted by her sheer undiluted truth. The truth in her eyes in every one of her gestures. The truth on her brow. Her thinking, transparent. Clint Eastwood does the right thing putting the entire film at her service and placing himself as the foil to liberate that powerful latent side of Francesca.
I though it was ironic and I'm not sure if was meant to be that a wonderful woman like Francesca will sacrifice, what could arguably be call the love of her life, for those children.
The grown children's mediocrity was kind of shocking to me. Will the revelation of their mother's secret, reveal a latent, greater side to their natures. I hope so. Francesca deserved extraordinary children. Try no to miss this little miracle.
Details Edit. Release date June 2, United States. United States. Official Facebook. Los puentes de Madison. Warner Bros. Amblin Entertainment Malpaso Productions. Box office Edit. Technical specs Edit. Runtime 2 hours 15 minutes. DTS Dolby Digital. Related news. Contribute to this page Suggest an edit or add missing content.
Top Gap. See more gaps Learn more about contributing. Edit page. Hollywood Icons, Then and Now. See the gallery. Watch the video. Recently viewed Please enable browser cookies to use this feature. Learn more. Francesca's husband and children have left home for several days to go to the Illinois State Fair.
Photographer and housewife meet, and an awkward but friendly conversation leads to an offer of iced tea; then she shyly asks him to stay for dinner. One of the story's mysteries is just when each of them becomes erotically aware of the 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. She seems happy; there is a lift in her heart. In another scene, she answers the telephone and, standing behind him, adjusts his collar, brushes his neck with her finger, and then leaves her hand resting on his shoulder.
Very quietly. Eastwood and his cinematographer, Jack N. Green , find a wonderful play of light, shadow and candlelight in the key scenes across the kitchen table, with jazz and blues playing softly on a radio.
They understand that Richard and Francesca are not falling in love with each other, exactly -- that takes time, when you are middle-aged -- but with the idea of their love, with what Richard calls "certainty. Robert wants her to leave with him. The notion is enormously attractive to her. Life on the farm is "not what I dreamed of when I was a girl. Not understanding quite how tied she is to the land, he suggests her husband could take her "on a safari.
And he is. The story never makes the mistake of portraying Richard Johnson as a bad husband. But we have seen, in an early scene, that there is no conversation around the Johnson family dinner table. With Robert Kincaid, there is much conversation; they talk of their ideals, and she says, "But how can you live for just what you want? All of the scenes involving Eastwood and Streep find the right notes and shadings.
The surrounding story -- involving Francesca's adult son and daughter finding her diaries and reading her story after her death -- is not as successful. I know this framing mechanism, added by writer Richard LaGravenese, is necessary; thewhole emotional tone of the romance depends on it belonging to the lost past.
And yet Annie Corley and Victor Slezak , as Caroline and Michael, never seem quite real, and Michael's shock at his mother's behavior, in particular, seems forced, like a story device. The payoff at the end -- as they reassess their own lives -- seems perfunctory. But the central story glows. I've seen the movie twice now and was even more involved the second time, because I was able to pay more attention to the nuances of voice and gesture.
Such a story could so easily be vulgarized, could be reduced to obvious elements of seduction, sex and melodramatic parting.
Streep and Eastwood weave a spell, and it is based on that particular knowledge of love and self that comes with middle age. Younger characters might have run off together. Older ones might not have dared to declare themselves. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Meryl Streep as Francesca Johnson. Annie Corley as Caroline.
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