Housekeeping (1987) Poster

(1987)

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8/10
very close to the book
garko-120 April 2005
great film, but probably the most misrepresentative ad campaign i've ever seen for a movie. this is NOT a comedy. Christine Lahti's Sylvia is NOT a one dimensional free-spirit. she is disturbed, as is the entire family. this translates perfectly from the book, as does the film's look and emotional atmosphere.

as for the opinion that Sylvia is a Pied Piper, that's just wrong. she could care less if anyone follows in her path. it just so happens that her niece is seduced by virtue of what i would interpret as instinct. the family has a long history of breaking from the norm, much to its detriment. the niece is merely fulfilling her filial destiny.

to say that the story presents a polemic about nonconformity shortchanges the viewer from the complexity of emotions that it evokes. there is no argument. this is just the way things turn out for these folks. and in my opinion, the ending leaves us questioning, just as it does in the book, how much control we have over destiny.
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8/10
Running On Empty
Galina_movie_fan29 November 2006
Warning: Spoilers
The movie tells the story of two young girls whom their mom brought to her home town in the Pacific Northwest and committed suicide at the same day. The girls stay with their proper and respectable grandmother but after her death, their aunt, eccentric, literally out of this world Sylvie arrived after long time to take care of her nieces. There is a mystery behind Sylvie's smile, behind her strange for the most population of the small town behavior - she collects empty tin cans and used newspapers, she loves to walk alone and to visit train station and a nearby mountain lake. Christine Lahti is the center of the movie as a lonely gentle woman who has lived through many disappointments and failures it seems and learned how to choose what is really important for her and not to pay attention what anyone would think of her. It is easier to live this way but Sylvie will have to learn how to get closer, to connect, and to love again. As time passes, one of the girls, Lucille is embarrassed by her aunt and leaves the house to live a normal life. Her sister, Ruthie, a shy, quiet and insightful girl identifies with Sylvie's longing for freedom and chooses to stay with her. There are gentle kindness, quiet sadness, the spirit of freedom and adventure, unspoken words, bitter disappointments, failures, search for love, for understanding and belonging in this movie. Christine Lahti is great - watching her reminded me of two remarkable movies, "Running On Empty" where Lahti played one of the main characters, the mother and wife in the family that had to be on the run and the devastating and profoundly moving "Vagabond" by Agnes Varda, the tragic search for absolute freedom.
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6/10
Interesting, but disappointing
jacqueline-mcbeath25 October 2013
I like Bill Forsyth films and this got good reviews so I decided to watch it. However it is quite slow, and i found it disappointing. It did not hold my attention. The plot and script lacked something. I found it less than credible. If a film is good, I never question credibility - it's not a documentary after all. But when the film is mediocre, then all sorts of things generate questions and make me think, " that would never happen". On a positive note: I thought the start was excellent. I liked that the story was being told by one of the girls. The acting was good. I suppose that it fits the Bill Forsyth criterion of being quirky and different, but it lacks the humour of films like Gregory's Girl and That Sinking Feeling.
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A keyhole to look through
David-HMB22 August 2002
This is a film of a rare, intimate perception that is aimed with pinpoint precision at a few unusual characters and the places they inhabit. At first its subjects seem simple, but like many people do, these characters are merely shielding themselves, hesitant to reveal much of their real natures except as as rare gifts in intimate moments. It must have been tremendously challenging to create and portray natural introverts like these characters, but as an introvert myself (I assert that characteristic without any touch of self-disparagement), I found this story rewardingly resonant of my own experience, especially of childhood memories, although indeed my outward circumstances had little in common with this story.

Almost never has any film conveyed a sense and feeling of a few small places so clearly and so effortlessly. We cherished the village in "Local Hero", but Fingerbone is an incomparably more realistic and deftly drawn place (despite occasional overreaching, e.g., the town's name, and a train accident that stretches credulity in more than one way).

For anyone willing to watch, dusk and the blue pre-dawn illuminate and suffuse these characters' lives. Sylvie sits by herself in the "dark", but there are wonderful secrets to discover in places that seem a void to others. Even well-meaning intrusions, like interruptions to meditation, can seem tragic.

Even more distinctly than Forsyth's other work, this film certainly wouldn't appeal to everyone, but it is a beautiful and evocative character study that has the courage to deal with personalities, events and emotions too obscure or inaccessible for most mainstream filmmakers. Forsyth deserves credit for having gotten this made in the first place, as well as for the eclectic perception that gave the film its many unique and worthwhile qualities.
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7/10
Housekeeping
jboothmillard18 October 2009
Warning: Spoilers
It featured in the book 1001 Movies You Must See Before You Die, I may not have recognised the stars names, but it doesn't matter, it sounded worth trying, from director Bill Forsyth (Gregory's Girl). Set in the 1950's, in the Pacific Northwest, after being abandoned by their mother, sisters Ruth (Sara Walker) and Lucille (Andrea Burchill) wind up living with their eccentric aunt Sylvie (Christine Lahti). They get on for quite a while, but eventually Lucille can't take the eccentric lifestyle much longer and moves out, but Ruth sticks with Sylvie, even after a flood spoils quite a bit. The relatives want Ruth to get the best out of life, and life with Sylvie might not be doing her any favours, so Sylvie retorts by wanting to live on the road again, taking Ruth with her. That's about all I could grasp I'll be honest, not that I didn't get it all. Also starring Anne Pitoniak as Aunt Lily, Barbara Reese as Aunt Nona, Bill Smillie as Sheriff, Wayne Robson as Principal, Margot Pinvidic as Helen and Georgie Collins as Grandmother. Walker and Burchill were pretty good as the sisters, but I think the key reason I would watch something like this again is because of the curious but charming scene-stealing performance by Lahti, I suppose it is a must-see book-based comedy drama. Very good!
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9/10
more haunting than whimsical
mjneu5928 November 2010
Two orphaned sisters growing up in a small Northwest mountain town in the 1950s drift apart when the eccentric habits of their itinerant guardian aunt (Christine Lahti) push one to the shelter of social conformity and draw the other outside, to an uncertain but more exciting life apart. The film was sold as another of Bill Forsythe's whimsical comedies, but the humor is overshadowed by the lingering memory of loss and dissatisfaction: a grandfather's tragic death, a mother's lonely suicide, and so forth. Likewise there isn't anything funny about Aunt Sylvie's deeply rooted vagabond instincts (expressed, for once, as something more than merely charming or quaint), which attract the more introverted sister (narrating the details) as strongly as they repel the rest of the community. It's a haunting, almost melancholy film, carefully paced to the rhythms of small town life in hard times, and with a fascinating undercurrent (note the irony of the title) equating the freedom of the open road with the liberation of women from domestic dependency. The final image, after Sylvie has introduced her niece to a life of wanderlust, is enough to lure the hobo out of any viewer.
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6/10
"It's better to have nothing," they were saying
SteveSkafte17 November 2010
I've always considered myself a dreamer. Even at times when it seemed nothing so much as a serious of impossibilities and uncertain outcomes. "Housekeeping" is a film that understands these feelings, drives, longings. It's the conflict that damages the narrative in the end, however. There's an undercurrent of emotional unease that keeps any more poetic sensibilities from fully finding their way to the surface. There are such stunning passages, quiet moments. The cinematography by Michael Coulter is absolutely beautiful. Bill Forsyth takes the story to many wonderful, living places.

Sara Walker and Andrea Burchill are wonderful as the two sisters. Christine Lahti is great as Sylvie. Although the film is narrated by the character of Ruth, I would have liked to see it more from her eyes, rather than wandering as it does. This is a very, very good film, don't get me wrong. But the potential of more feels very much pushing at the borders. I wanted more, and I got it at certain passages. There are certainly a lot of excellent things at play here. This is worth seeking out.
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10/10
A 'Best 10 List' Film to me
ksherwoodf21 September 2007
A work of Great Genius, this coming of age film is beautiful, haunting, darkly comic. I love Local Hero but I think this is Bill Forsyth's masterpiece so far. It is about conformity, parenting, coming of age, making choices, madness, creativity, adulthood, tragedies that every family endures, riding on trains, family traits and how they are passed down,living in a small town, life, death, boy scouts doing their good deed for the day, the many uses of newsprint ... the list goes on and on. In short, it is about everything and works at many levels, as a Great Film should. And this is a Truly Great Film, high on my top ten list of favorite films of all time. It is perfectly written, directed and filmed by Bill Forsyth of Scotland, and it includes a great performance by Christine Lahti and also by the supporting cast (esp. those who play her nieces). There is not a bad note in this film, it is a perfect film in every way, to my eye.

I understand why some commentators give this film a low rating -- they came looking for a comedy, or for the light melancholia of Local Hero (also a wonderful movie and one of my favorites). Housekeeping is dark melancholia, but it is also deeper and richer of a brew -- kind of Bergman with a sense of humor, in its vibe (though not its plot) it reminds me of another coming of age film, To Kill a Mockingbird, and it is of that film's high caliber.

This film is woefully under-appreciated in the U.S., I hope it is released on DVD soon. It deserves another chance to be recognized for what it is -- one of the greatest films of a generation. And I so hope that Bill Forsyth, still relatively young in his early sixties, gets back to writing and directing. His films are wonderful but too few. I really want to -- NEED to -- hear more from Mr. Forsyth, I feel his absence deeply, it is as if Yo-Yo Ma or Heifitz put away their fiddles after a few great concerts, and played no more. Please come back, Mr. Forsyth!
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7/10
Surely Bill Forsyth's most accomplished film
allyjack4 October 1999
The film maintains a consistent sense of mystery about the nature of relationships and families and destinies, especially regarding women who do more than simply fit into a norm (although, inevitably, its sympathy ultimately seems with the path of non-conformity, whatever the risks): it's also beautifully ambiguous about what relative values are being assigned to the various pathways on display here. It's characteristic of the movie's subtlety that the degree of Ruthie's self-determination is never quite clear given the character's extreme undemonstrativeness - the end may represent an (albeit innocent) form of coercion by Lahti. Even if so though, that's still a manifestation of family and of the way structures arise and endure, and as such seems at peace with the film's river-like tranquility and evocation of old myths (the train that went into the lake; the grandfather's obsession with mountains); the movie is also good at creating present-day images that look like the stuff of FUTURE legend (the flooded house; the night they spend out on the lake). Lahti's clever portrayal (unconventional, almost too honest at times even as she recedes as others) is perfectly suited to embodying the theme of a threat embodied by difference, regardless of its nature. This is surely Forsyth's most accomplished film.
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10/10
Best use of "Goodnight Irene" in the history of film
adam11173 March 2001
Though the box (identifying it as "A tidy comedy") is one of the most flagrant cases of false advertising ever, this is a wonderful movie. Set a bit after 1960 (you can tell because the song the mother sings in the ten-years-before opening was a hit in 1950) in a small town that hasn't caught up with the rest of the world yet, it shows a woman who isn't so much a free spirit as a person who just can't settle into basic routine. Mentally ill? Maybe, maybe not. But, if so, it's a pretty swell madness. Beautifully shot, wonderfully acted. Haunting is an excellent word. Just don't get it expecting a tidy comedy, whatever you do.
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10/10
brilliant
ned3821 January 2005
"Housekeeping" is one of the best books i've ever read, and this movie gets it absolutely perfect. Christine Lahti is brilliant; I can't imagine another actress in the role. It seems that nobody has heard of this movie, (understandable, I guess, as it's very low-key, hardly the slick product Hollywood usually churns out) but if you're in the mood for an intelligent, incisive examination of human behavior then you could do no better than to rent this.

One other thing. although the box calls it "a tidy comedy", it's far from that. it's a great DRAMA, and my guess is its relative obscurity , and lack of box office success, is more the result of the studios inability to market it than anything.
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5/10
She Has Her Own Ways
slokes31 August 2015
Director Bill Forsyth crosses the bridge between whimsy and despair in this spellbinding yet perplexing adaptation of a renowned Marilynne Robinson novel.

Sisters Ruth (Sara Walker) and Lucille (Andrea Burchill) share a home in a forlorn Idaho railroad town, conflicting memories of their long-dead mother, and social isolation. Enter Aunt Sylvie (Christine Lahti), who comes to live with them. She is supposed to take care of them, but as Sylvie's many eccentricities pop up, like sleeping on a park bench and lighting candles with rolled-up newspaper, it seems the question is who will care for who. Will anyone?

Mislabeled by its marketers as a "comedy" regarding a woman "slightly distracted by the possibilities of life," "Housekeeping" seems more like a prison story, the prison being one's own family and/or genetic destiny, of being born into a family of chronic outsiders and drifters fated to sad and lonely ends.

Sylvie is carefree, yet detached both from her nieces and the rest of the world. "Sylvie's behavior was annoying," Ruth tells us in a running narration. "Then it became frightening." The different reactions of the sisters to their aunt become the lynchpin of the drama.

While Lahti makes an impression and deserves the praise she got, the film's standout performances are those of Walker and Burchill, who inhabit their roles rather than just play them. To the extent "Housekeeping" develops your sympathy and engagement (for me the first hour does this quite handily) it's from watching these two interact and register as distinct personalities as the story goes on.

Otherwise, the film is a bit of a slog, especially in the second half when it focuses on Sylvie and Ruth. Forsyth once said he was less attracted to making a movie than he was an advertisement for reading the Robinson novel. Indeed, the film seems designed to connect with those already familiar with the source material, who don't need to have spelled out such things as why and how Ruth and Sylvie connect, or what happens between Ruth and Lucille. We hear the ends of conversations, watch people walk away from each other, and are left to connect the dots.

Long narrations consciously serve to replicate Robinson's evocative prose style over story ("Who could tell where the train might come to rest? It might be sliding yet...down and down...") and there is a tendency to linger on secondary elements which works more for a novel than a movie.

The house of the title makes for a marvelous set, full of nooks and crannies suggesting the disordered nature of our principals' existence. Michael Coulter's cinematography captures some wondrous visuals, like dawn coming over a mountain lake and a crackling fire at dusk. The film is such a triumph of mood-setting it hurts to see it do so little with its characters or their situation.

I can watch 15 minutes of "Housekeeping" and experience the same kind of pure delight I get watching other Forsyth films, but after that, the pointlessness and heaviness of the situation become a burden. If I read the book, I might feel differently, but I have a feeling Forsyth himself would agree: If I read the book, I wouldn't need the movie.
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10/10
One of my top 5 flicks
pjmurphyjr20 March 2001
The way this movie ends with the shot of the railroad tracks - reminded me of the way in school they ask two parallel lines ever meet? Mathematically the answer is no but visually it's hard to believe. That dichotomy is at work here in what you feel has been done will happen.

The ambiguity is refreshing when most movie makers or studios feel that `happy' or obvious ending are the only thing an audience will take.

I was so moved by this movie I also read the book which is as wonderful...

A total total joy.
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9/10
Housekeeping: A Ghost Story
raymond_chandler9 March 2016
Bill Forsyth is a Scottish-born director and writer of great insight with a whimsical view of the world. His movies tend to focus on low-key characters and obscure places rarely seen in filmdom. "Local Hero" is one of my all-time favorites. I now add "Housekeeping" to the list.

The movie is adapted from a novel by Marilynne Robinson. It takes place in the tiny town of Fingerbone, located in the Cascade Mountains of what I assume is Eastern Washington or Idaho, given many references to Spokane and Portland. I have lived in Seattle for many years, and I adore the scenery featured in this movie. One can almost smell the pungent, bracing aroma of decaying logs, fir trees, and smoldering campfires in the outdoor scenes.

Christine Lahti is an actress of rare gifts. Her basic decency and warmth comes through in every film I have seen her in. She plays rootless Sylvie, who comes to be the guardian of two adolescent orphaned nieces, Ruthie and Lucille. The story takes place in the 1950s, and the fashions, cars, and social mores are all dead-on. She and the girls live in a large house on the outskirts of Fingerbone, the same home Sylvie and her deceased sister Helen grew up in. The story explores the relationships of these three women, and the shifting dynamics of those relationships. There is an implied parallel of Ruthie and Lucille with Sylvie and Helen. "Housekeeping" supplies a rich family history for these off-beat characters, and provides a context for their behavior and development.

There are very few men in this film. It is resolutely about the lives of women among other women. The story unfolds over several years, and we see how Lucille (the younger sister) comes to be the responsible one, who yearns to live 'like other people'. Sylvie exists in a dream world, and Ruthie is gradually drawn into that land of longing and detachment. Eccentric is how most people would describe the behavior of Sylvie, but I prefer haunted. Haunted by the lingering presence of dead siblings and parents, haunted by the inability to fit in to modern society, haunted by the endless possibilities of other places and times. To me, "Housekeeping" is a ghost story, but these ghosts yet live.

"She IS sad. I mean, she should be sad."
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wonderful movie with one directorial flaw
Charlie-20924 December 2002
Years since I saw it in the moviehouse or video. NOT a comedy in the yuk yuk sense. I only wish I could have been on the set to say, "Bill, Focus more on the girls, not the aunt! You did them both so well!" It was just a question of balance in this absorbing movie. Christine Lahti had such a good, strong performance and Forsyth let her take the movie, or at least gave many viewers the idea that her character's the focus. Stunning scenery, wonderful evocation of family and place, and fascinates with its exploration of watery metaphors for our connection to and removal from people. Very faithful in tone to the book (a must-read by marilyn robinson, BTW), which I read after seeing the movie more than once. I wish I could see it on the big screen again.
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9/10
Great movie! Underscores the humanity and simplicity of being anonymous and of living "off of the grid"!
goltermann6 November 2005
I wish this movie were available on DVD!!!

Christine Lahti does her typically superlative job of depicting a woman whose values come from the heart rather than deriving from the dictates of western civilization. As always, she expresses the best of the free spirit which I believe can be found in any one of us.

Two young sisters end up in the custody of their aunt Sylvie, who has spent her life having abandoned the trappings of western civilization in general and of consumerism in particular.

In order to support her young nieces, Sylvie returns from the wild, so to speak, and helps to raise the girls in a manner which allows them to see the freedom of disassociation from society and its dictated "norms".
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10/10
Wildflowers
Foreverisacastironmess1232 November 2014
Warning: Spoilers
Wow, this movie is just..it's..having a bit of a hard time figuring out what to say here..it's just a really great, astoundingly wonderful movie! It's was so amazingly different from anything I'd ever seen before or since. It felt powerfully unique and special to me, and what it was about was very quaint, no fantastical elements whatsoever, only the endlessly fascinating eccentricities of people. Well a little more so, in this case. It struck a real deep chord with me and felt very much like a type of story that had never been told the same way in anything else. There's a melancholy windblown kind of feeling to it that would probably come off as dull and dreary if the film didn't happen to be so utterly charming and brilliantly captivating in its own understated simplicity. I found the situations, story, and really the overall world of the movie to be very enchanting in-and-of itself, it felt very authentic and starkly real. And although a lot of the tone is strange, contemplative and even surreal at moments, I still found all the characters to be always believable and I had a lot of sympathy for all sides involved in what was going on. I really followed those characters closely and wished them all well. I thought it was simple yet ingenious how the story was set up and played out, with the two sisters being so close at first and then gradually growing apart and eventually becoming estranged to the point of them practically being strangers as the youngest of the two, Lucille, becomes ashamed of her own sister and rejects the plain existential life that she seems content to live, and who eventually leaves after she adopts herself to a school teacher, whereas the gangly and socially-awkward Ruth finds a true kindred spirit in her aunt and the two grow ever-closer and more isolated from the real world, which I found a little unsettling.. One of the things I loved about this movie was how it makes you think about and question the morals of the story, and how whether or not it was right or not for Ruth to be with Sylvie was very much a matter of perspective and entirely up to the viewer. To me the main theme of it seemed to be that of the differences between those who desire to be a part of things and those wandering souls who appear to derive more satisfaction from being apart and and being their own person no matter the consequences. And there was such an uncanny strangeness in the patterns of the 'madness' passed down from generation to generation, like the eerie story of the doomed train that was swallowed up by the icy lake in the dead of night, and how that was similar to the film's startling opening scene where the girls' mother calmly drives her car into the same waters. Christine Lahti gave such a phenomenal performance, I found her gentle character so fascinating, how she was extremely eccentric to the point where some may have been in their right to consider her mentally disturbed, yet she was completely sincere and lucid all at once. I loved how she used her eccentric view of things to make miserable and scary situations seem like whimsical games, to herself and to the girls. Perhaps as a subconscious way of dealing with the daunting obstacles. One of my favourite parts is when they visit the forsaken-looking wreck of an old cabin on a lonely frost-covered island and it looks like a very saddening place to be, but she makes it seem like such a magical dreamlike place. You really do get people like Sylvie in the world, the ones who despite themselves are just too damn odd to ever truly fit into the regular scheme of things, and that's okay, that's just the way it is sometimes. Some people are meant to be with others, and some are just different and for the most part prefer to be alone and don't care about fitting in. And I believe they do it because they have to, not want to, it's their nature. And I don't think it really matters where any of us lives, as long as we live well in ourselves. I was so engrossed all the way through to the final scene which had me in tears the first time I saw it, because it was just so moving. There was something so powerfully emotive and poignant about the visuals of it with the two figures running along the wooden train tracks until they eventually vanish into the night... It was very sad and haunting, but also kind of beautiful and uplifting at the same time, and it concluded the movie in the absolute perfect way. This is a lovably strange and exquisitely bittersweet gem of a picture. It's sad, soulful, thought-provoking, and very precious and I love it very much. "I never saw such a thing!"
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5/10
Quirky, puzzling, sad...
moonspinner551 October 2005
From Marilynne Robinson's book about two orphaned sisters who are raised by their dotty, irresponsible aunt after their mother commits suicide. Downbeat story builds to inevitable resolution (with the aunt's lifestyle questioned by the authorities), yet the film's actual climax pulls the rug out from under the viewer, cutting short the voice-over narration and leaving a myriad of questions unanswered. Still, the darkly comic, quirky overtones are arresting, and the characters--helpless, drifting, directionless people--are vividly well-played. Some of the writing and presentation is arty and alienating, but one cannot forget Christine Lahti's leading performance so easily: flaky, frustrating, puzzling, she's one-of-a-kind. ** from ****
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Rhapsodic
Bram-57 February 1999
I'm biased. I loved this movie. Being Canadian, I identified with the sense of isolation from the world these two women felt. What is wonderful about the story is that Ruthie and Sylvie revel in their isolation; it is exactly what they want. In its way, this is a romance. Two people, each alone, meet and discover one another. I was happy for them.
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10/10
Best movie I ever seen
ilmari15 November 1998
Story is warm and interesting. I enjoy seeing it and the end was left open, what happened Ruthie ja Sylvie? People in the film were just like normal life, they take care each other.

Chistine Lahti,Andrea Burchill were great, but most wonderful was Sara Walker. How can it be so that this was her only movie? I have never found any other film shes playing.
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10/10
Brilliant, haunting, poetic
jtrapp127 February 1999
*Housekeeping* is easily one of my favorite films-- haunting, poetic & deeply melancholy, the film is very much like the poetry of Mark Strand: principally concerned with longing for something & not knowing what, being restless, etc. Haunting Pacific Northwest scenery! Impeccable performances, moving sountrack.
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8/10
Characters that stay in your thoughts
boscoe64 June 2001
A beautifully crafted work by Forsythe and team, this charachter study blends slight humor, emotional angst, and a fitting musical score. A constant in the movies' theme is that the choices dealt with by the lead characters have life-long and life-altering effects. Deeply sad and moving in spots and very open to contemplation after viewing.
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9/10
Hauntingly open-ended
escoles4 July 2000
... like much of Forsyth's work. If you're looking for something that makes everything clear and easy to pin down the moral and ethical edges of, don't bother. But if you're willing to take a real shot at seeing things a little differently, take a look.
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1/10
One of the worst films ever made.
0ldsk00l13 April 2002
'A Tidy Comedy'? Anyone who even *smiled* during the screening of this film needs quality psychiatric help.

And I say this as a huge fan of Bill Forsyth. I have seen all of his films, and I spent a great deal of effort tracking down this particular one. Having finally found it, I have to say, it's little wonder that it isn't widely available--it is DIRE.

Every director makes a few dud movies, but Forsyth's less brilliant films are still very watchable and above average (e.g. Breaking In). This however, is Bill Forsyth's worst film by *two* orders of magnitude--it's hard to believe he even had anything to do with it. It is *entirely* without merit: affected cardboard acting; excruciatingly boring, uneventful plot; superfluous, meaningless dialogue... just pointless... *pointless*... a complete waste of time! I cannot berate this film enough! In fact, the only thing that kept me going throughout this masterpiece of uninspired tedium (it took me about four sittings to watch it all the way through) was the prospect of giving it the richly deserved roasting that I now submit. I cannot believe that Forsyth read the (justly) obscure book upon which this film is based, and thought it would make an interesting (or even bearable) film--and if the film is anything to go by, the book must be absolutely *mind-numbing*.

There's no point in giving a detailed "intelligent" critique of this film--it would be a waste of time. This film is a non-entity. It's like a particularly dull episode of The Waltons, with John Boy's monotonous narrative voice-over replaced by that of the even more robotic Ruthie.

It defies belief that all the other reviews of this film are highly positive, the most scathing comment being that it was "uninspiring". Uninspiring? Try: *soul-destroying*. But the plot was only mildly depressing compared to the actual severe depression induced by the complete viewing experience. I have to admit, I experienced a real sense of uplifting *joy* when finally it was all over.

I expect that, to the *insane* reviewers who actually enjoyed this film, the intervention of the town's "concerned citizens" at the end might be considered the heartless act of interfering busybodies. I only wish that people of a similar ilk had interfered with the making of this abominable waste of time.

Fans of Forsyth: avoid like the *Black* Plague.
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I'll be thinking about this one for days.
Alba_Of_Smeg2 September 2020
I love finding little gems like this. What a find Housekeeping (1987) is. What a watch. This is the second Bill Forsyth film I've watched in recent weeks and I'm completely in awe of both. With storytelling like this it's such a joy to watch. The quirks and eccentricities of the characters add another layer of magic in these stories and go a long way in emphasising that "I don't belong here" element that's was present in this film and also Local Hero (1983).

I'm amazed more people don't know about this one.
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