Julianne Moore is stunning as Kathleen Whitaker, the type of perfect housewife who appeared in such classic '50s shows as "Leave it to Beaver" and "Ozzy and Harriet." Though Kathleen lives in an idyllic suburb of Hartford, has a perfectly manicured lawn and two adorable children, her life is crumbling under its beautiful veneer.
It turns out that Kathleen's husband, Frank (played masterfully by Dennis Quaid), is gay, and this fact turns their world upside down. One of the most moving aspects of Frank's attempt to cope with what he views as a sickness is the moving way in which he tries to explain his feelings to his wife. His vocabulary, limited by the mores of his era, makes these scenes extremely poignant.
How the couple chooses to deal with Frank's homosexuality is also remarkable. It is here that Quaid is at his best. Portraying a man with conflicting emotions, he still manages to embody the profile of the strong silent '50s movie hero.
Bewildered, Kathleen turns to
her college-educated gardener, Raymond (Dennis Haysbert), for solace. However, as they draw closer to each
other, their intimate friendship only serves to stir up gossip in the surrounding conservative community.
Haynes uses this relationship to make a statement on race relations and interracial dating as it is perceived now. Kathleen is praised for being forward-thinking and "modern" when she initially befriends Raymond. She is soon chastised, however, for deciding to pursue a relationship outside of socially acceptable confines, while Raymond is treated like a second-class citizen. Both Moore and Haysbert are incredibly engaging as two people exploring completely new territory.
In addition to these deft characterizations, Haynes creates a world within the scope of this movie. The movie opens with the credits being presented in the antique '50s font and format. Then Haynes' adept use of color is dazzling in contrast. Beginning in fall, Haynes uses such a lush palette that the scenery often takes on a character of its own. Falling leaves take on a picturesque quality when presented in such a vibrant manner.
Haynes also uses specific visual schemes to underline various themes of the movie: color plays a significant role. Kathleen's wardrobe often seems to camouflage her; at times she almost seems invisible when standing in her yard talking to Raymond. As the movie develops and Kathleen's clothing becomes progressively brighter and more bold, her wardrobe appears to be a part of Haynes' master plan to show Kathleen's attempt to break out of her perfectly planned life.
Most period dramas stumble in at least one or two areas, especially with regard to the script. However, Haynes, who also wrote the screenplay, makes sure that the dialogue
has a perfect pitch. The dated phrases effectively prompt the audience to take stock of their own opinions on issues such as race and sexual orientation. As Kathleen navigates the heady world of conservative Connecticut society, we are encouraged to wonder how we would fare in her position.
Haynes has created a brilliantly imaginative, yet totally believable environment. While his direction and screenplay are superb, the movie ultimately benefits from Moore's graceful, intelligent performance. This is her movie, and she bears the responsibility with a knowing elegance.
What is even more significant than the cast's acting ability or Haynes' faultless direction is the fact that the movie debunks much of the social progress thought to have been made since the '50s.