![]() Her Ladyship serves as the one supporting female with a mature feminist take who provides counsel and guidance to the young Effie. Wearing her heart on her sleeve and her emotions in her eyes, Fanning executes a tacitly methodical eggshell walk that is compelling.ĭoing double duty as both screenwriter and actress, Emma Thompson clearly wrote the role of Lady Eastlake for herself as the patter and performance is perfectly Emma. Performances are extremely strong starting with Dakota Fanning. Similarly, Merifield’s design of the cottage with intimate side-by-side corners for Effie and Millais with arrogant cold fish Ruskin across the room tells a chapter all its own. The cinematographic storytelling is stunning. Perfectly contrasting that, however, is the sun and vibrant golden hues and green meadows as Effie and Millais grow closer and Ruskin is in Edinburgh. Lensing in the Scottish lochs with the cold and rain is a perfect emotional metaphor for Effie’s cold and empty life with John. Making extensive use of candlelight and shadow in the cottage scenes, compounded with exquisite rain-soaked jaunts among Mother Nature, Dunn’s visuals speak volumes while becoming quietly hypnotic. Stunning contrast are the exteriors of the Scottish lochs and the third act of the film which takes place in a rustic yet intimate “Quiet Man-esque” cottage. ![]() Henderson Presents” and “Gosford Park”, beautifully sets the visual tonal bandwidth with not only framing, but lighting, most notably with the Ruskin home wherein he creates a sensory experience as if being wrapped in a heavy cotton velvet. Dunn, a veteran of period beauty in films like “Miss Potter”, “Mrs. ![]() Complementing Merifield’s work is that of cinematographer Andrew Dunn. Production design is rich and, in the case of the Ruskin manse, bodes an old world heaviness of the burdens of money and cloaked secrets. Production designer James Merifield, who wowed us with period perfect work in “Austenland”, does so to an even greater degree here. Questionable, however, is Thompson’s decision to construct the story through the prudish lens of the 19th century as opposed to that of 21st century sensibility and the forward thinking nature of Effie Gray herself. (Omitted from the film is Effie’s post-annulment story as she went on to marry Millais and have a very long, very happy and very loving marriage.)Īlthough somewhat toned down from actual historical documentation of the Effie’s life and the “scandalous” nature of her existence, not to mention the complete and utter dysfunction of the Ruskin family, and steers clear of being a psycho-sexual playground, thanks to Thompson’s script, Laxton’s direction and a stellar performance by Dakota Fanning as EFFIE GRAY, the film soars with pro-feminism thematics. Those flirtatious moments lead to a deep love which serves as the impetus for Effie to have her marriage annulled on grounds of Ruskin’s impotency. While the trip is supposed to be for the benefit of Effie and hopefully as a means to save her marriage, it is anything but, as Ruskin brings Millais along and, given he has no interest in his own wife, requests Millais spend time with Effie. While Thompson’s script never addresses much of the documented public scrutiny and innuendo over the couple, she delves deeply enough into John and the Ruskin family to provide a strong foundation for the emotional arc of Effie, so much so, that one is touched, moved and cheering for Effie when she falls in love with rising new-artist John Everett Millais while on a doctor prescribed therapeutic stay in Scotland (to get Effie away from her mother-in-law). Moving his bride into the Ruskin family home proved problematic from the start for both Effie and what would become a doomed marriage thanks in large part to a perceived “mama’s boy” relationship between Margaret Ruskin and son John. Ruskin, 29-years old to the 19-year old virginal Effie, was anything but a loving husband and there has been much debate and discussion over the centuries as to why he never seemed to “rise to the occasion” as a suitable husband for Effie. Then put this solid script in the hands of director Richard Laxton, steep the film in beautiful and immersive production design and high production values, and we are transported into 19th century London and the world of EFFIE GRAY.Ī well known true story of sexual repression, not to mention societal scandal, Euphemia “Effie” Gray was a young Scottish lass who, in 1848, married the leading art critic of the day, John Ruskin. Leave it to screenwriter Emma Thompson to deliver yet another period piece showcasing a strong female lead with an equally powerful female driven voice throughout the film.
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