Miss Julie

Miss Julie

2014 "Love is a foolish game"
Miss Julie
Miss Julie

Miss Julie

5.5 | 2h10m | PG-13 | en | Drama

Over the course of a midsummer night in Fermanagh in 1890, an unsettled daughter of the Anglo-Irish aristocracy encourages her father's valet to seduce her.

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5.5 | 2h10m | PG-13 | en | Drama , Romance | More Info
Released: October. 09,2014 | Released Producted By: Maipo Film , Subotica Country: United Kingdom Budget: 0 Revenue: 0 Official Website:
Synopsis

Over the course of a midsummer night in Fermanagh in 1890, an unsettled daughter of the Anglo-Irish aristocracy encourages her father's valet to seduce her.

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Cast

Jessica Chastain , Colin Farrell , Samantha Morton

Director

Heather Greenlees

Producted By

Maipo Film , Subotica

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Reviews

cnycitylady Miss Julie is a very compelling piece, that cannot be denied. The small, confined setting allows for this epic problem to play out in the most stressful way possible. And the performances by both Jessica Chastain and Colin Farrell are powerful in all of their subtlety and rancor. The two characters are always perfect juxtapositions; one with their innocence and the other with their malice. But which character is which? This is never made clear as they both seem to jump into one of the roles and back again. This leaves you more confused with the arguments that follow and the events that take place, and with questions that will forever remain unanswered. The problem that is the catalyst of the story isn't even, in my opinion, the act that takes place halfway through the film. No. In fact I believe it is the simple explanation that Farrell's character gives Chastain about love. Those conversations are dangerous at the best of times, and this just happened to be the worst of times. He bewildered her at a time of innocence, and whether he was sincere or not is irrelevant. The blow was struck. The two then panic and bounce between what they should do after the fact, both trying to lay blame on the other, neither realizing that it takes two to tango. You cannot help but pick a side while watching. Someone, whether it was him or her, had to be the responsible one; Had to know when to stop. But neither did, and so someone must take on the role of the villain, because the world is black and white. At the end the loser is left to his somewhat cruel fate while the "winner" is left to bask in his victory and shy away from the guilt that will never truly relinquish him of his part in the role. The characters search for absolution the entire time, and even when they they've found it, they will not be completely absolved.For all of the power in this filmed play, I have to say that I didn't like the material or the characters. Sexism, hatred, and sleaze take center stage and leave all who are involved considerably diminished. The ending will infuriate anyone with a soul and leave you questioning the way society works. 5/10
gradyharp August Strindberg wrote his play MISS JULIE in 1888 and while it is often performed today by classical repertory companies, the story is strong and deserves the very frank and stage-like production that brilliant actress Liv Ullmann brings to the screenplay adaptation and directs with a sure hand.The story is set on Midsummer's Eve on the estate of a Count in Fermanagh, Ireland. Miss Julie (Jessica Chastain in a brilliant performance), the young woman of the title, is drawn to a senior servant, a valet named Jean (Colin Farrell also quite brilliant), who is particularly well traveled, well mannered and well read. The action takes place in the kitchen of Miss Julie's father's manor, where Jean's fiancée, a servant named Kathleen (Samantha Morton), cooks and sometimes sleeps while Jean and Miss Julie talk. On this night the relationship between Miss Julie and Jean escalates rapidly to feelings of love and is subsequently consummated. Over the course of the story Miss Julie and Jean battle until Jean convinces her that the only way to escape her predicament is to commit suicide.While the acting and cinematography and production values are excellent, the aspect of Liv Ullmann's emphasis on Strindberg's reason for committing this work to the public – as one historian phrased it well, 'Miss Julie and Jean, as vying against each other in an evolutionary "life and death" battle for a survival of the fittest. The character, Miss Julie, represents the last of an old aristocratic breed about to die out. Whereas Jean represents one who is clambering upwards, and who is more fit to thrive because he is better able to adapt in terms of the "life roles" he can take on. The play contains a variety of themes, partly because Miss Julie's actions are motivated by a range of factors and influences: her class, her desires and impulsive nature, her father, and the dynamic traumas of her family histories.'The musical score is brilliant – various combinations of violin, cello and piano with works by Schubert and Bach performed by Håvard Gimse, piano, Truls Mørk, cello and Arve Tellefsen, violin. The music is an integral part of the atmosphere. Highly Recommended. Grady Harp, May 15
Red_Identity I had never seen her be this loud, this unabashedly theatrical. But, the character calls for it, and it all somehow works. Farrell doesn't have to go as big, and yet he's the one that comes across as unconvincing. The film only really comes alive when it gives Chastain the space to be as loud as humanly possible. It's not a terrible film, but it just seems like an excuse for such powerhouse acting showcasing, and in that respect it's tremendously glorious to witness Chastain's work. It could've easily gone off the rails with many actresses, but she still manages to surprise me in what she can achieve. Again, it worked for me, but it won't for everyone. Several people will absolutely loathe her (really, any performance of this nature is bound to) but I can honestly say she is probably better here than in Rigby, if only because the material allows it. In that way it's a hard performance to analyze, it's basically "here, watch Chastain ACT!" without really caring if we get the character. But it worked for the 2 hours, mostly.
Cary Barney Liv Ullman gets just about everything wrong in her slow, heavy, inert adaptation of "Miss Julie." The play needs white hot intensity; she kills its momentum with portentous silences. It needs the claustrophobia of its kitchen setting; she dissipates this by "opening it up" as you're supposedly required to do when filming plays, taking it down corridors and outdoors. It needs an atmosphere of raucous midsummer revelry right outside the windows, with the revelers at one point invading the kitchen; she lets us hear them, briefly, but otherwise the three characters seem to be the last people on earth. Instead of merry folk dancing, which provides an ironic counterpoint in the original, we get a string trio playing tasteful Schubert adagios. Jessica Chastain is well cast and, when allowed to come to life, very good, as is Samantha Morton, but Colin Farrell is misdirected; his Jean ("John" in this version) lacks the charm and sardonic humor that would make the character compelling. For no good reason the play is relocated to Ireland, a setting Ullmann makes no use of. (I guess it's to justify the actors' brogues.) Strindberg sets a clock going right from the start, so that the proceedings carry tremendous urgency; Ullman drains all the tension out of it so it plods drearily. The worst thing you can do in adapting any work is drape it in the deadening mantle of a "classic." There's nice decor, costumes and cinematography to gaze at, but don't let this be your introduction to Strindberg's electrifying play.