Stars: Oakes Fegley, Julianne Moore, Michelle Williams
Storyline
The story of a young boy in the Midwest is told simultaneously with a tale about a young girl in New York from fifty years ago as they both seek the same mysterious connection.
Writers: Brian Selznick, Brian Selznick, Oakes Fegley, Julianne Moore, Michelle Williams, Millicent Simmonds, Julianne Moore, Cory Michael Smith, James Urbaniak, Damian Young, Patrick Murney, Lauren Ridloff, Anthony Natale, Carole Addabbo, Howard Seago, Brian Berrebbi, John P. McGinty, Mark A. Keeton, Patrick Wiley, Garrett Zuercher, , , , , , , , , , , , , , , ,
Cast: Millicent Simmonds -
Rose
Julianne Moore -
Lillian Mayhew /
Rose
Cory Michael Smith -
Walter
James Urbaniak -
Dr. Kincaid, Rose's Father
Damian Young -
Otto, Museum Guard
Patrick Murney -
Workman
Lauren Ridloff -
Pearl, The Maid
Anthony Natale -
Dr. Gill, Teacher of the Deaf
Carole Addabbo -
Miss Conrad at the Museum
Howard Seago -
Remy Rubin, Theater Director
Brian Berrebbi -
Stage Manager
John P. McGinty -
Valentin
Mark A. Keeton -
Shopkeeper
Patrick Wiley -
Window Dresser
Garrett Zuercher -
Officer Engel
Taglines:
It's not what you look at that matters, it's what you see.
Trivia:
The film reunites director Todd Haynes with Julianne Moore. This is their fourth collaboration after Safe (1995), Far from Heaven (2002), and I'm Not There. (2007). Moore's performance in "Far From Heaven" earned her an Academy Award nomination for Best Performance by an Actress in a Leading Role. See more »
User Review
Author:
Rating:
How is a Todd Haynes film with a character based on Lillian Gish this
bad? And why is this his follow-up to Carol?!
This YA mystery – adapted by its author – has an intriguing dual- time
structure, a nice Carter Burwell score and some neat nods to silents,
but it's also cloying, not very mysterious, and incredibly longwinded:
not trusting its audience to understand anything, and struggling with
some laborious translation problems reminiscent of Le mèpris, in which
a lot of the dialogue has to be written down and held up. It doesn't
help that the central kid seems to have wandered in from a school play.
Or that it ends up looking like an extended advertorial for some
museums.
It's sort of like Hugo, if everything that Scorsese's film had done had
gone a bit wrong.
(The Gish films being homaged, incidentally, are primarily The Wind
(the poster of the film-within-a-film starring 'Lillian Mayhew' is
based directly on a publicity image for this 1928 masterpiece) and
Orphans of the Storm, though she played mothers in few of her starring
vehicles and Wonderstruck diverts considerably from her real life.)
0