Word: nora
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...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of femininity: women should be seen and not heard. She finally slams the door...
...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of feminity: women should be seen and not heard. She finally slams the door...
...Doll's House. Christopher Hampton adapts Ibsen's play and refuses to capitalize on its Feminist aspects; he doesn't have to, they are built in. But when Patrick Garland brings it to the screen he cops out in the film on what is most effective in the play. Nora (Claire Bloom) has that sort of perfect fine-featured face with lines of tension at the edges that tell you about the anxiety she suffers in living up to the Victorian ideal of feminity: women should be seen and not heard. She finally slams the door...
Christopher Hampton's adaptation transcribes rather than transcends Ibsen's antique dramaturgy, while Patrick Garland's direction is curiously uninflected, so the whole enterprise gives off the air of a respectful college theatrical. As Nora Helmer, Claire Bloom seems to substitute aspiration for inspiration-a windup doll whose spring is not wound tightly enough under the tensions of dull domesticity in the early going, and who completely runs down in the final confrontation with her husband. As her antagonist, Anthony Hopkins acts more like a spoiled adolescent than an oppressor to reckon with. A quartet of worthy...
Jane also implied that the adaptation had been written by a misogynist. Torvald, Rank and Krogstad-all the men-had been portrayed much too sympathetically. The script failed to reflect a true understanding of women, especially their relationship with one another as expressed in the scenes between Nora and Kristine. Jane devoted long hours to working out these scenes with Delphine. So much did the two women kiss and touch each other before the camera that Director Losey had to complain about the unwarranted intrusion of lesbianism into the story...