I found this movie to be quite beautiful, and it opened a period of history seldom explored in films. It tells the tale of a Jewess in 19th Century London who must disguise herself as a gentile to obtain employment as a governess. Her joy for life and her searching mind attract her to her employer, who is trying to discover a way to "freeze" the photographic image. It is very much of its time. Minnie Driver is excellent, very sensual and convincing. Tom Wilkinson is incredibly strong and attractive. The dark colors and the general sense of gloom are very well depicted. I thought it was a marvelous film.
61 Reviews
The driver peeks out, trying to find one face in this concrete world full of souls.
shankar26 July 1999
I quite enjoyed this movie. Sure, my mind wandered a lot because the story is hardly gripping. I'm also positive I won't remember much about it next week, except that Minnie Driver's talent and beauty is stunning. STUNNING. I did also feel that the leading man was poorly cast. He did not seem to me a person that a young, vibrant woman would fall for. I'm sure the script called for a older man, but age wasn't the problem. He just didn't seem to fit in with Minnie Driver. Nonetheless, the whole movie was excellently shot and wonderfully acted and extremely high quality, but conversely it's regrettably forgettable. (That's a nice phrase, no?)
I would rather be a prostitute swallowing semolina than become that fish merchant's wife.
lastliberal16 May 2009
After her father is murdered, Rosina (Minnie Driver) must marry without love or strike out and try something different. She changes her name and takes a job as a governess.
Of course, she also has to hide her Jewishness and learn to be a Protestant.
Her employer, Charles Cavendish (Tom Wilkinson) is a photographer working on a way to fix the photos he takes so that they last more than a day. She shows an interest in his work and spends her spare time helping. As expected, Minnie Drivers sensuality soon captivates him. He gives up his photographs of nature and gets into portraiture.
He realizes that he is not her intellectual equal and, when he discovers that he was in love with a Jewess, he turns very cruel.
She returns to London during a cholera epidemic, finding her mother dead. He new knowledge enable her family to survive, and she flourishes.
Driver was outstanding, and Jonathan Rhys Meyers was also good as the son.
Sandra Goldbacher's first feature film shows much promise.
Of course, she also has to hide her Jewishness and learn to be a Protestant.
Her employer, Charles Cavendish (Tom Wilkinson) is a photographer working on a way to fix the photos he takes so that they last more than a day. She shows an interest in his work and spends her spare time helping. As expected, Minnie Drivers sensuality soon captivates him. He gives up his photographs of nature and gets into portraiture.
He realizes that he is not her intellectual equal and, when he discovers that he was in love with a Jewess, he turns very cruel.
She returns to London during a cholera epidemic, finding her mother dead. He new knowledge enable her family to survive, and she flourishes.
Driver was outstanding, and Jonathan Rhys Meyers was also good as the son.
Sandra Goldbacher's first feature film shows much promise.
Exquisitely Done
dima-218 February 1999
Do not be put off by the negative comments in the user reviews here! This is a thoughtful, lovely, well-made film. I would watch it again, which is, for me, the highest endorsement. I can not comprehend how anyone could find it "boring".
Well photographed period piece with interesting music
khatcher-214 March 2002
The story is not up to great things, oft told one way or another and smacking of Jane Austen romantic drama aspirations: a beautiful jewess of sephardi descent in 1830s London decides to take the job of governess to a little girl in a great big mansion supposedly on the Island of Skye, Inner Hebrides, Scotland (though I did glimpse a bit of Glencoe, Scottish mainland, and indeed what was definitely the beautiful Cuillins on Skye) where she falls in love with the master of the household, father of the little girl, and then the son falls in love with her. Well, that alone might have you wandering over to the next projection sala or just twiddling with the remote control, if it were not for certain other factors which may well be called redeeming, so good they are.
Minnie Driver certainly looks the beautiful jewess, but her interpretation goes a bit awry at times, or even careers off the rails; her performance has ups and downs of feelings and passions which do not really make much sense. Better directing might well have produced better results from Ms. Driver, as well as the fact that the focussing of the story is very much a feministic appreciation, rather slanted perhaps, forgiveably so I am not so sure, rather as if Ms. Goldbacher herself was brought up on the aforementioned Jane Austen, as well as Daphné du Maurier, a touch of the Brontës, and she finally spiced it all up with some misgivings from D.H. Lawrence. The result is a confusion of desire and sex being mistaken for romantic love. But don't we all, anyway?
The excellent photography and scenification makes up quite a lot for many of these pitfalls; the costumes and the settings of the interior of the house of such lucky landed-gentry is superb, as well as the scenes in London in the opening and closing parts of the film. This visual experience is greatly enhanced by the musical setting. Ed Shearmur has done an excellent job of creating his own `sephardi' music, helped by offerings from the Israeli singer, Ofra Haza. The music contributed greatly to the setting of scenes, ably supplying tone and atmosphere. Such that I feel one could enjoy this film solely for the photography, costumes and sets, and the music, and you could quite happily skip most of the story. It is not that the story is so bad, just that it is not anything special to write home to mother about, although she might well be the first to disagree.
The Sephardi songs made me remember an old recording I have of some very beautiful melodies sung by Soledad Bravo on a CBS record maybe 20 years ago and which might be found on a Sony CD. The intepretation of these songs, sung in `ladino' (sometimes called judezmo) which is an archaic form of today's Spanish, is pretty authentic. Ladino is still used today by descendents of people thrown out of Spain during the `Inquisición', and now living in parts of Turkey (specifically I found it being spoken in Izmir), Bulgaria, Macedonia, Montenegro and the Croatia coast. Within Israel of course, this language is pretty frequent.
Minnie Driver certainly looks the beautiful jewess, but her interpretation goes a bit awry at times, or even careers off the rails; her performance has ups and downs of feelings and passions which do not really make much sense. Better directing might well have produced better results from Ms. Driver, as well as the fact that the focussing of the story is very much a feministic appreciation, rather slanted perhaps, forgiveably so I am not so sure, rather as if Ms. Goldbacher herself was brought up on the aforementioned Jane Austen, as well as Daphné du Maurier, a touch of the Brontës, and she finally spiced it all up with some misgivings from D.H. Lawrence. The result is a confusion of desire and sex being mistaken for romantic love. But don't we all, anyway?
The excellent photography and scenification makes up quite a lot for many of these pitfalls; the costumes and the settings of the interior of the house of such lucky landed-gentry is superb, as well as the scenes in London in the opening and closing parts of the film. This visual experience is greatly enhanced by the musical setting. Ed Shearmur has done an excellent job of creating his own `sephardi' music, helped by offerings from the Israeli singer, Ofra Haza. The music contributed greatly to the setting of scenes, ably supplying tone and atmosphere. Such that I feel one could enjoy this film solely for the photography, costumes and sets, and the music, and you could quite happily skip most of the story. It is not that the story is so bad, just that it is not anything special to write home to mother about, although she might well be the first to disagree.
The Sephardi songs made me remember an old recording I have of some very beautiful melodies sung by Soledad Bravo on a CBS record maybe 20 years ago and which might be found on a Sony CD. The intepretation of these songs, sung in `ladino' (sometimes called judezmo) which is an archaic form of today's Spanish, is pretty authentic. Ladino is still used today by descendents of people thrown out of Spain during the `Inquisición', and now living in parts of Turkey (specifically I found it being spoken in Izmir), Bulgaria, Macedonia, Montenegro and the Croatia coast. Within Israel of course, this language is pretty frequent.
Minnie Driver, stunning as always
s_sjo27 September 2000
I'm always surprised when I see a movie with Minnie Driver. She's not the best looking actress, or the most skilled but she makes every movie she's a part of worth watching. Even Disney's Tarzan was vitalized by her sparkling voice and energetic acting. This movie places the main character in a very odd position in a house with no love. The dangerous triangle betwixt the governess, the father and the son is very interesting. I would however like to have more motives and reason for the governess treatment of the son. Also that relation seems not to "fit" in the movie and should have been given more time to grow. The photography is beautiful and the nice singing of late Ophra Haza adds value to the movie. It has been a while since I last was left so puzzled and thoughtful after a movie. See this movie with a dear friend.
Essential viewing, if only for one reason
PaulineDorchester30 March 1999
This is a deeply flawed film. Supporting characters are never fleshed out and the ending simply does not ring true. But coming as it does in the wake of several films about the Holocaust (with more on the way, one imagines), "The Governess" accomplishes something extremely important: it presents Judaism and Jewishness as normal and desirable.
Indeed, the film takes a fairly dim view of other states of existence. Gentiles -- particularly Christians -- who are thinking of seeing this film should be warned that they and their culture do not come off very well.
"The Governess" is also a very beautiful film to look at and listen to.
Happy Passover, everyone!
Indeed, the film takes a fairly dim view of other states of existence. Gentiles -- particularly Christians -- who are thinking of seeing this film should be warned that they and their culture do not come off very well.
"The Governess" is also a very beautiful film to look at and listen to.
Happy Passover, everyone!
thoroughly awful
toast-158 September 2001
Warning: Spoilers
*****SPOILERS*********
This movie was truly awful. This woman deceives her employers right from the start and then selfishly proceeds to tear them apart. At the end you see her making a profession out of the trade she'd learned from the father of her "pupil". I put pupil in quotes because the governess never really seems to teach the child anything. She seems to hate her and can't stand being near her. I felt sorry for the little girl who simply wanted to be loved, absent that, it was understandable that she would say and do outrageous things just to get attention but the viewer wasn't supposed to sympathize with the little girl, the viewer was supposed to sympathize with the governess who hated her pupil and manipulated and deceived her employers. I just couldn't do it. This was not the story of a self made woman, rather, it was a window into the mind of one who uses others at every opportunity with no other thought for anyone outside of her own family. I couldn't stand the governess! This was a really horrible movie. I only paid one dollar to rent it but even that was too much!
This movie was truly awful. This woman deceives her employers right from the start and then selfishly proceeds to tear them apart. At the end you see her making a profession out of the trade she'd learned from the father of her "pupil". I put pupil in quotes because the governess never really seems to teach the child anything. She seems to hate her and can't stand being near her. I felt sorry for the little girl who simply wanted to be loved, absent that, it was understandable that she would say and do outrageous things just to get attention but the viewer wasn't supposed to sympathize with the little girl, the viewer was supposed to sympathize with the governess who hated her pupil and manipulated and deceived her employers. I just couldn't do it. This was not the story of a self made woman, rather, it was a window into the mind of one who uses others at every opportunity with no other thought for anyone outside of her own family. I couldn't stand the governess! This was a really horrible movie. I only paid one dollar to rent it but even that was too much!
Photographs
jotix10030 June 2005
Warning: Spoilers
The myth of the governess in English literature, seems to have been the inspiration for film maker Sandra Goldbacher, who makes an auspicious debut with this feature. Never had a first time director been so blessed to be working with a winning team behind her. The glorious cinematography by Ashley Rowe, the music by Ed Shearmur, to name just two, make "The Governess" a satisfying movie to watch.
We are taken to the England of the 1830s. The story shows us a Jewish family of means. Rosina, the oldest daughter is a sophisticated young woman who seems to thrive in that society. When her father is killed, Rosina's world goes to pieces. She decides to seek employment as a governess for a young girl in the Island of Skye, in the Hebrides. The trip Rosina undertakes in primitive transport makes her think whether she had made the right choice, or not. All she sees is the lush green of the English countryside around her.
Her employers are a Scotish couple of means. Charles Cavendish is a man of science working in his own kind of photography. His wife, seems to be a woman who is bored out of her mind. The young charge, Clementina, doesn't like the idea of being bossed by the new governess. Rosina has changed her name and passes herself as a Christian by the name of Mary Blackchurch. There is also a young son, Henry, who is away at school.
Mary, who has received an education in London, surprises Mr. Cavendish and soon becomes his assistant in his experiments. The admiration Charles feels toward the young woman soon turns into a passion that is reciprocated by Mary, who we are led to believe has not had any sexual experience before. This newly found passion in Charles soon gets the best of him as he feels it makes him neglect his interest, which has been helped immensely by Mary's innate intelligence.
In a surprising turn of events, Mary decides that since she can't have Charles, she must leave the island and return to London, not before presenting Mrs. Cavendish with the naked picture of her husband she took, which appears to have been the excuse for the break in their illicit relationship. At the end, Rosina is back to London where she is seen practicing the new technique she learned by working with Charles in the island.
Minnie Driver totally dominates the film. Her Rosina/Mary is perhaps her best role in her career. Some comments point to the fact that Ms. Driver seems older to play this woman, but in our humble opinion, she seems to have an understanding of the character and makes it come alive. Tom Wilkinson, a great actor that probably hasn't been recognized as he should, does an outstanding job in capturing Charles. Jonathan Rhys-Meyers plays Henry the son that comes back from school and ends up falling in love for the governess. Harriel Walter and Florence Hoath play Mrs. Cavendish and Clementina well.
The film is a triumph for a novel director. Ms. Goldbacher clearly shows to be a voice to be reckoned with in the English cinema.
We are taken to the England of the 1830s. The story shows us a Jewish family of means. Rosina, the oldest daughter is a sophisticated young woman who seems to thrive in that society. When her father is killed, Rosina's world goes to pieces. She decides to seek employment as a governess for a young girl in the Island of Skye, in the Hebrides. The trip Rosina undertakes in primitive transport makes her think whether she had made the right choice, or not. All she sees is the lush green of the English countryside around her.
Her employers are a Scotish couple of means. Charles Cavendish is a man of science working in his own kind of photography. His wife, seems to be a woman who is bored out of her mind. The young charge, Clementina, doesn't like the idea of being bossed by the new governess. Rosina has changed her name and passes herself as a Christian by the name of Mary Blackchurch. There is also a young son, Henry, who is away at school.
Mary, who has received an education in London, surprises Mr. Cavendish and soon becomes his assistant in his experiments. The admiration Charles feels toward the young woman soon turns into a passion that is reciprocated by Mary, who we are led to believe has not had any sexual experience before. This newly found passion in Charles soon gets the best of him as he feels it makes him neglect his interest, which has been helped immensely by Mary's innate intelligence.
In a surprising turn of events, Mary decides that since she can't have Charles, she must leave the island and return to London, not before presenting Mrs. Cavendish with the naked picture of her husband she took, which appears to have been the excuse for the break in their illicit relationship. At the end, Rosina is back to London where she is seen practicing the new technique she learned by working with Charles in the island.
Minnie Driver totally dominates the film. Her Rosina/Mary is perhaps her best role in her career. Some comments point to the fact that Ms. Driver seems older to play this woman, but in our humble opinion, she seems to have an understanding of the character and makes it come alive. Tom Wilkinson, a great actor that probably hasn't been recognized as he should, does an outstanding job in capturing Charles. Jonathan Rhys-Meyers plays Henry the son that comes back from school and ends up falling in love for the governess. Harriel Walter and Florence Hoath play Mrs. Cavendish and Clementina well.
The film is a triumph for a novel director. Ms. Goldbacher clearly shows to be a voice to be reckoned with in the English cinema.
A good but flawed period film.
=G=14 February 2001
Driver plays a Jewess in 19th century Scotland who poses as a gentile and takes a governess position to provide income for her family following her father's death. An artistically and technically excellent film, "The Governess" is flawed to the detriment of the overall effort. Driver's character grows ambiguous and the film wears on; the juxtaposition of the Jewish and Christian is overwrought; the male lead is not sufficiently charismatic; and the story stutters at the end which is anticlimactic at best. Nonetheless, well worth a look especially for Driver fans.
I wanted to like this one - the situation was rich...
xenophil18 August 1998
I wanted to like this one - the situation was rich, and the setting unusual and interesting. But the story is swamped with childish female gothic romance elements that are hard to swallow. The director is unfairly prejudiced against the 'goy' characters -- content to let them be grotesque cardboard caricatures -- and inexplicably indulgent towards the homewrecking behavior of the heroine. The potentially interesting power struggle between the inventor and the governess is not really dealt with.
Feminist film makers will get more credibility when they stop manipulating situations to throw all the sympathy to the heroine, and start dealing honestly with issues. This movie more closely resembles 'The 7 Pieces of Gold', another earnest failure, more than 'The Piano' - a real tale of passion.
Feminist film makers will get more credibility when they stop manipulating situations to throw all the sympathy to the heroine, and start dealing honestly with issues. This movie more closely resembles 'The 7 Pieces of Gold', another earnest failure, more than 'The Piano' - a real tale of passion.
Sultry and Seductive
Tunica6 March 1999
I thought this movie was beautiful. It was somewhat overlooked in America when it was released in 1998, partly because it had to compete against some higher profile British films and partly because it is not commercial. It could not be sold to the general public for a very sad reason - most movie goers have absolutely no sense or knowledge of history. So, the story of being a Jewess in mid-19th Century England and Scotland would seem too odd to them. In addition, the average person might have difficulty in grasping how amazing photography was to people in those days.
For those who do have knowledge of history, I highly recommend this film. Some might say that Rosina [Minnie Driver] is too much of a modern character, but intelligent women, rebellious women and highly sensual women have ALWAYS existed, regardless of the morals and hypocrisies of the times they lived in.
For those who do have knowledge of history, I highly recommend this film. Some might say that Rosina [Minnie Driver] is too much of a modern character, but intelligent women, rebellious women and highly sensual women have ALWAYS existed, regardless of the morals and hypocrisies of the times they lived in.
Rosina: "Then do not look at me."
stephanlinsenhoff6 May 2015
Warning: Spoilers
Rosina, the child of an Italian-Jewish father and a mother born on the Island of Sky. The warmth of the Sephardic Jewish household of the early 1840's is disturbed by the murder of the da Silva family's father. The headstrong daughter Rosina decides not to marry but seek domestic service. "All I need are a pair of white gloves and some humility and an answer to my advertisement." Her wish of stage acting becomes reality: the stage of the world. Aware that her Jewishness bars the door to any employment Rosina invents the governess Mary Blackchurch, a Protestant whose part-Italian ancestry explains her olive skin.
while Mrs Cavendish lives a life in boredom her husband is absorbed in the pioneering studies of photography. Mysterious study of which the servant Cook says, that it has something to do with capturing the shadows of ghosts. Secretly she enters at night the study, looking around and seeing the box camera at the window and the 'ghost'-pictures. Next morning she positions herself outside the study, photo typed by Charles Cavendish, inviting her to come and join her in his work as assistant – partly released from her normal duties.. But how he tries: the pictures fade and vanish. Mary, following in her room the Jewish traditions, she celebrates Passover: by mistake she spills saltwater on a photo type on her bedside table, wiping it dry.
Next morning she discovers that the picture has not vanished. She rushes to the study and Charles: "It is Salt solution, you clever girl." The mixture of sodium chloride he did not see: "how could I have been so stupid. It was starring me into the face." Rosina, conscious of the males dominance: "You should be proud of what you've done. You've made it possible to capture the essence of people, to fix memory, fix people, lost people in one's mind forever." When Rosita suggests after the salted picture discovery again a portrait (she asked before: "Have you ever recorded a photo type of a human face?") he agrees. Eventually both are unable to resist as man and woman; 'devoured' by the eager woman with her answering kiss – and his bad conscience: "How late it is." But too late for both. Charles says: "Your eyes are so huge.You devour me" to which she answers: "Then do not look at me. I've heard it said that the ancient Hebrews used to express love for each other entirely covered." Then: "Do I look different? You showed me how to be an inventor. And now I feel as though I could do anything. I want to understand everything about you. I want, I want to invent a way of fixing this moment for ever." Forgetting what her aunt said to her mother after her fathers death: "You never really know a man's true nature. It is all God's will." Rosina setts the pace, knowing what she wants, knowing a mans true nature – never forgetting the master and who the servant is: "Could we not could you not", or: "Cavendish method. Cavendish Blackchurch method or even the Blackchurch Cavendish method." Charles: "Are you trying to overtake me, Miss?" And then the forbidden moment when Rosina goes beyond the point of no return. Charles talks of his mothers and Rositas hair. While fiddling with it he falls asleep and Rosina sees her chance. She undresses him, arranging his left leg – on the developed photo type it is the right leg. Too late she discovers her mistake. Charles is unable to forgive her that she crossed the line. And when the Royal Society's Hewlitt comes, the idea of the salted pictures are his: "Science is not always an entirely rational being. These matters are not always of interest to the ladies." Rosina, hopes to wind back time, humiliates herself: "Charles, I know I have angered you. I know you do not like me to use the camera. Please forgive me. I'm sorry. It was just a gift to show my love. . And our plans, what about the future? I will, I will not be so demanding. I promise you I won't. I will not talk of love. I will not speak of the future. I promise I will be whatever you want me to be. What do you want me to be? Forgive me. I beg you, forgive me. I love you." But done is done and no forgiveness. After her halfhearted revenge with his son she leaves for London. Leaving she confronts the family at supper. Dressed in her Jewish outfit, Mrs Cavendish asks: "Have we a Christmas charades?" Rosina gives her the compromising photo type of her naked husband.
Back in London Rosina becomes a well known, unmarried photographers for her own people. One day Charles is her customer, defeated as he is: "I'm in your hands Miss da Silva. Do with me what you will." She: "Could you turn your head a little more into the light? Still for a full minute." And he: "Are we done?" and she: "Yes, Yes, I think so. Quite done. If you leave your address with my sister," leaving him, "the print will be ready within a week." While he in the background he goes she stops. Last scene while working: "I think of Scotland hardly ever at all now. My images are much admired, and I am even to give a lecture at the Royal Society. They say I have captured the beauty of my father's people, and I am glad." Preparing a self portrait, looking into the camera:" My Mary Blackchurch days seem long gone now. I hardly ever think of what might have been, or why he came to find me, or why it is that you love most those who always seem to be turning away from you. Work is a wonderful restorative."
while Mrs Cavendish lives a life in boredom her husband is absorbed in the pioneering studies of photography. Mysterious study of which the servant Cook says, that it has something to do with capturing the shadows of ghosts. Secretly she enters at night the study, looking around and seeing the box camera at the window and the 'ghost'-pictures. Next morning she positions herself outside the study, photo typed by Charles Cavendish, inviting her to come and join her in his work as assistant – partly released from her normal duties.. But how he tries: the pictures fade and vanish. Mary, following in her room the Jewish traditions, she celebrates Passover: by mistake she spills saltwater on a photo type on her bedside table, wiping it dry.
Next morning she discovers that the picture has not vanished. She rushes to the study and Charles: "It is Salt solution, you clever girl." The mixture of sodium chloride he did not see: "how could I have been so stupid. It was starring me into the face." Rosina, conscious of the males dominance: "You should be proud of what you've done. You've made it possible to capture the essence of people, to fix memory, fix people, lost people in one's mind forever." When Rosita suggests after the salted picture discovery again a portrait (she asked before: "Have you ever recorded a photo type of a human face?") he agrees. Eventually both are unable to resist as man and woman; 'devoured' by the eager woman with her answering kiss – and his bad conscience: "How late it is." But too late for both. Charles says: "Your eyes are so huge.You devour me" to which she answers: "Then do not look at me. I've heard it said that the ancient Hebrews used to express love for each other entirely covered." Then: "Do I look different? You showed me how to be an inventor. And now I feel as though I could do anything. I want to understand everything about you. I want, I want to invent a way of fixing this moment for ever." Forgetting what her aunt said to her mother after her fathers death: "You never really know a man's true nature. It is all God's will." Rosina setts the pace, knowing what she wants, knowing a mans true nature – never forgetting the master and who the servant is: "Could we not could you not", or: "Cavendish method. Cavendish Blackchurch method or even the Blackchurch Cavendish method." Charles: "Are you trying to overtake me, Miss?" And then the forbidden moment when Rosina goes beyond the point of no return. Charles talks of his mothers and Rositas hair. While fiddling with it he falls asleep and Rosina sees her chance. She undresses him, arranging his left leg – on the developed photo type it is the right leg. Too late she discovers her mistake. Charles is unable to forgive her that she crossed the line. And when the Royal Society's Hewlitt comes, the idea of the salted pictures are his: "Science is not always an entirely rational being. These matters are not always of interest to the ladies." Rosina, hopes to wind back time, humiliates herself: "Charles, I know I have angered you. I know you do not like me to use the camera. Please forgive me. I'm sorry. It was just a gift to show my love. . And our plans, what about the future? I will, I will not be so demanding. I promise you I won't. I will not talk of love. I will not speak of the future. I promise I will be whatever you want me to be. What do you want me to be? Forgive me. I beg you, forgive me. I love you." But done is done and no forgiveness. After her halfhearted revenge with his son she leaves for London. Leaving she confronts the family at supper. Dressed in her Jewish outfit, Mrs Cavendish asks: "Have we a Christmas charades?" Rosina gives her the compromising photo type of her naked husband.
Back in London Rosina becomes a well known, unmarried photographers for her own people. One day Charles is her customer, defeated as he is: "I'm in your hands Miss da Silva. Do with me what you will." She: "Could you turn your head a little more into the light? Still for a full minute." And he: "Are we done?" and she: "Yes, Yes, I think so. Quite done. If you leave your address with my sister," leaving him, "the print will be ready within a week." While he in the background he goes she stops. Last scene while working: "I think of Scotland hardly ever at all now. My images are much admired, and I am even to give a lecture at the Royal Society. They say I have captured the beauty of my father's people, and I am glad." Preparing a self portrait, looking into the camera:" My Mary Blackchurch days seem long gone now. I hardly ever think of what might have been, or why he came to find me, or why it is that you love most those who always seem to be turning away from you. Work is a wonderful restorative."
An unintended cautionary tale?
saska-33 October 2003
THE GOVERNESS is a moody period piece, the meandering story of a Jewish woman who, upon the death of her father, sets out to 1830's Scotland, posing as a Gentile to get work to support her family in London.
Rosina - or Mary, as she calls herself in a none too subtle piece of symbolic writing - is a rudderless child, a socialite with dreams of being an actress. She strikes up an alliance with her employer, and by accident solves a crucial problem in his research with photography. Giddy with success, they begin a halting and uncomfortable affair while the eldest son of her paramour falls hopelessly (and inexplicably) in love with her.
And like a child, she fails to understand the consequences of her actions - in the end, betraying those she deceived in order to make a life for herself.
Many claim this is something of a feminist manifesto, but I disagree. Whether intended or not, this film only resonates with me if I think of it as a cautionary tale. In the end, Rosina's greatest disappointment is the truth - that she lied, happened upon a way to help a man she wanted to be both her father and her lover, and in the end contributed nothing but destruction. As such, the end of the film gives me the impression that nothing she did, no one she used, made her happy - and that is exactly as it should be.
Did I need a movie this long and langorous to teach me this lesson? Not at all. On the contrary, had it not been for excellent cinematography, unique score and my hope that she'd get her come-uppance, I wouldn't have stuck with it to the end of the film.
Fans of Minnie Driver will likely be disappointed by her uneven performance but may wish to see it anyway; I doubt young female fans of Jonathan Rhys-Meyers will be able to stay awake for the payoff they expect, and I can't help thinking this holds too little cultural detail to be of interest, even to photography buffs. The 3 points I award the film are solely for its visual style and score. On the strength of their other work, I assume the actors' performances are so disappointing because of a poor script and worse directing, but they are, in the end, unremarkable.
Rosina - or Mary, as she calls herself in a none too subtle piece of symbolic writing - is a rudderless child, a socialite with dreams of being an actress. She strikes up an alliance with her employer, and by accident solves a crucial problem in his research with photography. Giddy with success, they begin a halting and uncomfortable affair while the eldest son of her paramour falls hopelessly (and inexplicably) in love with her.
And like a child, she fails to understand the consequences of her actions - in the end, betraying those she deceived in order to make a life for herself.
Many claim this is something of a feminist manifesto, but I disagree. Whether intended or not, this film only resonates with me if I think of it as a cautionary tale. In the end, Rosina's greatest disappointment is the truth - that she lied, happened upon a way to help a man she wanted to be both her father and her lover, and in the end contributed nothing but destruction. As such, the end of the film gives me the impression that nothing she did, no one she used, made her happy - and that is exactly as it should be.
Did I need a movie this long and langorous to teach me this lesson? Not at all. On the contrary, had it not been for excellent cinematography, unique score and my hope that she'd get her come-uppance, I wouldn't have stuck with it to the end of the film.
Fans of Minnie Driver will likely be disappointed by her uneven performance but may wish to see it anyway; I doubt young female fans of Jonathan Rhys-Meyers will be able to stay awake for the payoff they expect, and I can't help thinking this holds too little cultural detail to be of interest, even to photography buffs. The 3 points I award the film are solely for its visual style and score. On the strength of their other work, I assume the actors' performances are so disappointing because of a poor script and worse directing, but they are, in the end, unremarkable.
One of 1998's Best Films
Kev2231 December 1998
Why all the negativity about this utterly brilliant motion picture? First of all, Minnie Driver is absolutely splendid. The entire film is beautiful to watch, the story palpably intelligent and erotic. The characters rich and spellbinding. I was enraptured by the first 5 minutes and the story never let me down. Tom Wilkinson was excellent as was Harriet Walter. A definite must see for lovers of intelligent period pieces. Very reminiscent visually of Jane Campion's "The Portrait of a Lady" and Shekhar Kapur's "Elizabeth." Too bad the film (and especially Driver's performance) got so little attention when it was released this summer. Rent it, and then decide how you feel.
A really odd storyline...
Irishchatter16 July 2015
Warning: Spoilers
I find this movie was quite rather odd and different. I mean, OK this governess is really much based on a Jewish aristocrat who just took up a teacher job just because she wants to support more for her family. I think it's selfish and rather strange to take up this job. I would understand the story of Jane Eyre on why she had to take up a job as a governess but I did not understand why Rosina da Silva took up the position. This will wonder in my head for a long long time really....
Anyways, I thought Minnie Driver looked absolutely stunning, she's like an Italian goddess. I would've preferred her character to be with Jonathan Rhy Mehers character. Although, I thought his voice was too sweet for his role. I know he was meant to play as a teenage boy but I didn't think it suits him personally. You have to admit girls, he still looks hot today even if he has a fiancée xD
I kinda like the movie but then again, it's alright to keep you going. I'll give this film 7/10.
Anyways, I thought Minnie Driver looked absolutely stunning, she's like an Italian goddess. I would've preferred her character to be with Jonathan Rhy Mehers character. Although, I thought his voice was too sweet for his role. I know he was meant to play as a teenage boy but I didn't think it suits him personally. You have to admit girls, he still looks hot today even if he has a fiancée xD
I kinda like the movie but then again, it's alright to keep you going. I'll give this film 7/10.
Stark and very trite!
Sherazade22 March 2006
Warning: Spoilers
I'm from the UK, but there's only so much of these typical period pieces that I can take. Gosh! the governess was very tasking for me, although it was refreshing to see a woman like the Jewish governess Minnie Driver plays here, exist and hold her own within that time frame. She is sent to go work as a governess in the home of Tom Wilkinson's character (who inadvertently falls in love with her) and sooner than later she becomes the center of the household for more reasons than one. The master's children are smitten with her, her mistress loathes but tolerates her and she (Driver) induces and nurtures an affair so scandalous with the man of the house that it is probably what inspired the son (played by Johnathan Rhys Myers) to come after her as well. The whole premise is sick, and nobody wins in the end. It was well-acted but that's about all I can say for it. Sorry if I truly spoiled the synopsis of this film for you but, I just couldn't help but tell it like it is. I have initiated the spoiler alert check-mark so please don't be too offended with my review.
An ambitious failure.
Cara-829 January 1999
"The Governess" is one of those films you want to like--an independent effort to tell the story of people we rarely here about, the Jewish community in Victorian England. But instead of telling their story, or the story of Rosina (played by an excellent Minnie Driver)as she discovers herself and her love for photography, it spends all its time on an improbable romance. It's really rather demeaning for the beautiful, intelligent, young Rosina to fall so absolutely in love with her employer (Tom Wilkinson). To be blunt, he's not young, not at all good looking, not kind, and a lot dumber than she is. The romance, in other words, never works. And why, may I ask, do all female coming-of-age films have to center on love and sex? I expected a lot from this film, and I'm afraid I was quite disappointed.
Dreadful
Ed-9023 October 1998
If I heard the male lead say "This is madness!" one more time I would have barfed. The film is one big cliche, with fake "grind him under your heel" attitudes. Not one male in this movie has one redeeming quality; reminds me of Soviet-era films with strongly politically-oriented messages. I couldn't even understand WHY there was attraction between the leads, nor could I wait for the ending.
The Governess was a beautiful film that I think deserves more credit than it got.
Hanne15 April 1999
The Governess was a beautiful film that I think deserves more credit than it got. I feel this film followed in the same quality and artistic depth as Jane Campion's 'The Piano'. Of course the story is very unique. Minnie Driver plays Rossina da Silva, a Jewess in victorian era England, who is forced to find employment in a Christian family when her father dies. She takes on the persona of 'Mary Blackchurch' a pious Christian women. She ends up in distant Scotland, where her employer turns out to be a deeply intelligent scientist - whose family feels detached from society because of his work. Mr. Cavendish's work interest Rossina and in their work they discover not only some breathtaking advances in science but new emotions and feelings, which they each explore differently. The film technique is just impeccable. There are beautiful shots on the shores of the ocean. The use of color and glass distortions makes Rosinna's Jewish world come to life like I have never seen before. I think I loved this film, not only for its story, but also because it opened up a realm to me that I had never been aware of: Jewish life in the 19th century. Minnie Driver is wonderful in this film, her Rosina is stronger than any other role I have seen her in. Tom Wilkinson of 'Full Monty' fame is also a very believable and caring Mr. Cavendish. SEE THIS MOVIE ! It is so beautiful and the soundtrack is moving, almost haunting. The governess is definitely on my list of favorite films of all time !
A Kodak Moment (DVD)
leplatypus16 October 2010
Another great movie with Minnie ! It's sad that she had a meteoric career because she really stood out.
Here, she plays a surprising Jew girl in Britain at Victorian time. Even if her family is wealthy, the death of her father leads her to search for work. She gets it as a governess of a spoiled young girl leaving in a isolated island. During her stay, she would find love and participate in the invention of photography.
Thus, there are a lot of ideas, emotions, feelings here that makes a fast, gripping movie.
I think that this lonely place helps to maximize the tension, all above that the sets and costume are beautiful and for modern eyes of cities settlers, it looks fairy!
As it's about leaving home, making a trip and dividing faiths, it's funny to notice that human always carry a luggage that is weightless and is the ultimate glue for people: the libido! Unaware of it, even when Minnie is locked in a tiny island for working and inventing photography, this pulsing has accompanied her, lurking and waiting for the perfect time to get out: it's not really surprising that the first takes are nude composition and having lost her dear father, Minnie falls in love with the only mature man.
As her story is told with a lot of heart, fragility and truth, it leaves a warmly memory!
Here, she plays a surprising Jew girl in Britain at Victorian time. Even if her family is wealthy, the death of her father leads her to search for work. She gets it as a governess of a spoiled young girl leaving in a isolated island. During her stay, she would find love and participate in the invention of photography.
Thus, there are a lot of ideas, emotions, feelings here that makes a fast, gripping movie.
I think that this lonely place helps to maximize the tension, all above that the sets and costume are beautiful and for modern eyes of cities settlers, it looks fairy!
As it's about leaving home, making a trip and dividing faiths, it's funny to notice that human always carry a luggage that is weightless and is the ultimate glue for people: the libido! Unaware of it, even when Minnie is locked in a tiny island for working and inventing photography, this pulsing has accompanied her, lurking and waiting for the perfect time to get out: it's not really surprising that the first takes are nude composition and having lost her dear father, Minnie falls in love with the only mature man.
As her story is told with a lot of heart, fragility and truth, it leaves a warmly memory!
One of the most boring movies I have ever seen
Kiwinick4 February 1999
This movie had an excellent premise, and could have been a fascinating look at racism, attitudes to women at work and male female relations in England early last century. However, it simply turned into a soppy love story. But what was worse, is that the love story was totally unbelievable. The acting was for the most part poor, the direction confusing, but most of all the screenplay and the story were non-existent. The only thing I liked about the film was how dark it must have been before electric lighting. I really got a sense of just how little light one candle puts out.
beautiful, stunning film
bartoncc9 January 2001
Gorgeous, stunning film! Minnie Driver shines in this film, as do several of her co-stars. Fascinating, unusual story as well. Most of these period films end in tragedy; no if, and, or buts about it. The "rise and fall" of the protagonist is the norm, as many Merchant-Ivory films portray. However, one of the pleasing aspects of this film was that the ending was mixed, and not as simple as "heroine tries for the moon; fails and is punished". In addition, I can't remember the last time I saw Sephardic Jews portrayed in a film. The vast majority of time, only Ashkenaz Jews are pictured (Jews from northern Europe and Russia). Quite refreshing to see something new. A beautiful film overall!
Jewish girl assumes WASP identity and everyone wants to sleep with her
jakalope14 August 1998
Sandra Goldbacher had good intentions with this film. It seems like she wanted to contrast the two different worlds of Rosina/Mary and explore the conflict between them. She got a bit side-tracked with the unbelievable love story. Also, her characters lack dimension - they do things that aren't explained. "the Governess" did include some pretty photography, but it would have been nice if a good script with developed, motivated characters and adequate dialogue had accompanied it. Maybe if the dialogue hadn't been so sparse, the characters would have seemed more developed and the film wouldn't have been so dull. There is a limit to how many times I can watch Minnie pose for the camera before I start to fall asleep.
But we can be any self we want, can't we?
film-critic22 April 2005
The Governess was, by far, a very pitiful film. I do not use this word loosely, as it honestly was a poor excuse for a movie. I finished watching this feature with only one word on my mind
"why"? Honestly, you could use this question at the end of every scene of this film and it would seem like it fit. There were so many inconsistencies that lead to a lack of development (both in the story and in the characters) which ultimately lead to a very confusing film with actors walking through the motions instead of giving any explanation. Scenes would occur with no foreshadowing, understanding, or drive to a complete ending. It was as if I was watching several different ideas thrown together without really any resolution. Actors were setting events in motion that did not seem to fit their character or really were resolved. This was my biggest issue with this film. The complete and utter lack of structure to this film brought all specks of foundation crumbling down with a genuine "ripple-effect" being felt throughout the rest of the film as a result.
Let me explain myself further on this lack of consistency throughout the film. I would liken this film to a bowl of lumpy oatmeal that had a zebra in it. It made no sense nor was there any logic behind it all. Minnie Driver was the worst culprit of this deed. Her character's lines were drawn very fuzzy and nearly transparent. She would do things like talk about sex all the time with her sister, but yet she seemed very open to sexual experiences all the time. She has her first moment of passion in this film, and there is no pain or excitement. It nonchalantly happens, and this just didn't seem to fit the original conversation that we had at the beginning of the film with Rosina and her sister. She is a very intelligent woman that accidentally finds a solution to Wilkinson's problem and suddenly wants full rights to his invention? That was confusing and completely random. Is it not obvious to anyone else that her teaching methods were non-existent. Anyone in their right mind could see that she wasn't teaching Cavendish's daughter anything. The sudden and awkward relationship that randomly forms between Driver and Jonathan Rhys-Meyers nearly had me laughing out loud. I thought maybe I had discovered some magic in this film as Rhys-Meyers literally "poofed" into the scene and suddenly caused some unneeded drama. It felt that the director (or writer) was thinking that the original story was going nowhere fast, so by adding this random character we may be able to advance the plot a bit (or confuse the lesser film enthusiasts). Well, it didn't fool me, I saw that he was nearly a "cut-and-paste" character used to strengthen an already weakened story. Don't get me started on the ending, which had no consistency to the rest of the story. Again using the "cut-and-paste" method, the writer of this film needed a way to just end the story, and this was the only solution they could arrive to. It is sad when actors are forced to do things out of character but I guess that is the name of the game in Hollywood. Fix until completely broken, or at least salvageable.
The remainder of the story was unexciting dribble. There were maybe a handful of neat cinematography moments where you could see that there was one sliver of creativity trying to peak through coupled with some bars of decent, period piece music, but nothing to write to Grandma about. More family structure with some stronger introductions could have strengthened this film a bit more, but as I stated before, by leaving open-ended scenes just lying around the entire film, you will experience a crack in your foundation. What may seem like a sturdy story, will eventually wear down over time, and by the end of this film I felt that the house was crumbling down on top of me. Wilkinson plays his normal self in this film, while Driver apparently did not want to get naked, but everyone else had too (I will have to see a doctor after those images were burned into my eyes eeewwww). Also, she wore the same dress everyday. That was disgusting and I could smell her through the television. Sex and dirty laundry. Now there is a great film for you! There just seemed to be some potential floating around here, but instead it was just rubbish. Nothing was answered, questions seemed to fall like snow in Alaska, and mediocrity seemed to reign supreme.
Overall, this could have been a decent film that combined the powerful themes of science and love together, but instead it was just pitiful. I cannot stress enough the disturbing fact that characters were going through motions without any sort of pre-explanation. I don't need cinematic moments handed to me like a child, but something should have been done to build a foundation. Just remember the oatmeal with a zebra analogy that I used. If you were as confused about that as I was, then you will completely understand the film The Governess, while if you prefer zebras in your oatmeal then, maybe this film is for you!
Grade: * out of *****
Let me explain myself further on this lack of consistency throughout the film. I would liken this film to a bowl of lumpy oatmeal that had a zebra in it. It made no sense nor was there any logic behind it all. Minnie Driver was the worst culprit of this deed. Her character's lines were drawn very fuzzy and nearly transparent. She would do things like talk about sex all the time with her sister, but yet she seemed very open to sexual experiences all the time. She has her first moment of passion in this film, and there is no pain or excitement. It nonchalantly happens, and this just didn't seem to fit the original conversation that we had at the beginning of the film with Rosina and her sister. She is a very intelligent woman that accidentally finds a solution to Wilkinson's problem and suddenly wants full rights to his invention? That was confusing and completely random. Is it not obvious to anyone else that her teaching methods were non-existent. Anyone in their right mind could see that she wasn't teaching Cavendish's daughter anything. The sudden and awkward relationship that randomly forms between Driver and Jonathan Rhys-Meyers nearly had me laughing out loud. I thought maybe I had discovered some magic in this film as Rhys-Meyers literally "poofed" into the scene and suddenly caused some unneeded drama. It felt that the director (or writer) was thinking that the original story was going nowhere fast, so by adding this random character we may be able to advance the plot a bit (or confuse the lesser film enthusiasts). Well, it didn't fool me, I saw that he was nearly a "cut-and-paste" character used to strengthen an already weakened story. Don't get me started on the ending, which had no consistency to the rest of the story. Again using the "cut-and-paste" method, the writer of this film needed a way to just end the story, and this was the only solution they could arrive to. It is sad when actors are forced to do things out of character but I guess that is the name of the game in Hollywood. Fix until completely broken, or at least salvageable.
The remainder of the story was unexciting dribble. There were maybe a handful of neat cinematography moments where you could see that there was one sliver of creativity trying to peak through coupled with some bars of decent, period piece music, but nothing to write to Grandma about. More family structure with some stronger introductions could have strengthened this film a bit more, but as I stated before, by leaving open-ended scenes just lying around the entire film, you will experience a crack in your foundation. What may seem like a sturdy story, will eventually wear down over time, and by the end of this film I felt that the house was crumbling down on top of me. Wilkinson plays his normal self in this film, while Driver apparently did not want to get naked, but everyone else had too (I will have to see a doctor after those images were burned into my eyes eeewwww). Also, she wore the same dress everyday. That was disgusting and I could smell her through the television. Sex and dirty laundry. Now there is a great film for you! There just seemed to be some potential floating around here, but instead it was just rubbish. Nothing was answered, questions seemed to fall like snow in Alaska, and mediocrity seemed to reign supreme.
Overall, this could have been a decent film that combined the powerful themes of science and love together, but instead it was just pitiful. I cannot stress enough the disturbing fact that characters were going through motions without any sort of pre-explanation. I don't need cinematic moments handed to me like a child, but something should have been done to build a foundation. Just remember the oatmeal with a zebra analogy that I used. If you were as confused about that as I was, then you will completely understand the film The Governess, while if you prefer zebras in your oatmeal then, maybe this film is for you!
Grade: * out of *****
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