“Everyone was sending Derek words of appreciation, and stories of audiences sobbing all across America.” And no wonder-Cianfrance’s film sacrifices the nuance of its source material and populates the story instead with saints and martyrs who are the victims of fate rather than their own actions. The film The Light Between Oceans tell the story about a lighthouse keeper. Plumb’s essay concludes with a happy ending of its own: the film’s warm reception in Paris, where “real people” (not critics, who, naturally, are automatons) appreciated it for what it was. In the novel, when the sergeant suggests that Hannah testify on behalf of her child’s kidnappers, she throws a vase at him. Set in the year 1912 on Cape Cod, a lighthouse keeper who has disavowed any association with females, must deal with the appearance of two attractive women who move into a nearby cottage for the summer. “Because you only have to forgive once,” Weisz answers beatifically, gazing at a photo of her dead husband. “Why would you do that?” asks the local police sergeant in disbelief, echoing exactly what I and surely others in the theater were thinking. With his wife (Alicia Vikander) they find an abandoned baby in. This all comes to a head at the very end of the film: When Isabel and Tom’s crimes finally catch up with them, Hannah offers to speak on their behalf, asking for clemency. After WWI a veteran (Michael Fassbender) becomes a lighthouse keeper on an Australian island.
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