This could've (and should've) been a devious black comedic romp through the stiff-collared 1800s. If only the editor of the trailer could have a whack at the whole feature.
Jessica Lange is fine in a restrained performance of cousin Bette, a matronly woman who has been in love with her cousin's husband. When her cousin dies, she attempts to take her place and accepts the man's proposal. It's not a marriage proposal, as she believed, but a proposal that she be the children's governess.
This builds the seamy hatefulness in her heart and she begins to manipulate and turn family and community members against each other. All to make someone love her.
The supporting cast offers a mixed bag of performances. Bob Hoskins is winning as the lecherous, but rich old man who seeks the young daughter of Bette's cousin. Elizabeth Shue sometimes seems like she's just wandered off the set of Showgirls. The moody young artist is about as easy to care about as anyone from MTV's the Real World.
The final shot (of Elizabeth Shue in a habit, turning around to expose her butt), although hilarious, just doesn't work. It's just slapped right on the end of the film. Had the narrative structure throughout the script drawn parallels between the show and the show with the show, it might have worked. Introducing this idea only in the final shot simply makes the filmmaking self-conscious, and shows off the uneven creativity of the film itself.
Jessica Lange is fine in a restrained performance of cousin Bette, a matronly woman who has been in love with her cousin's husband. When her cousin dies, she attempts to take her place and accepts the man's proposal. It's not a marriage proposal, as she believed, but a proposal that she be the children's governess.
This builds the seamy hatefulness in her heart and she begins to manipulate and turn family and community members against each other. All to make someone love her.
The supporting cast offers a mixed bag of performances. Bob Hoskins is winning as the lecherous, but rich old man who seeks the young daughter of Bette's cousin. Elizabeth Shue sometimes seems like she's just wandered off the set of Showgirls. The moody young artist is about as easy to care about as anyone from MTV's the Real World.
The final shot (of Elizabeth Shue in a habit, turning around to expose her butt), although hilarious, just doesn't work. It's just slapped right on the end of the film. Had the narrative structure throughout the script drawn parallels between the show and the show with the show, it might have worked. Introducing this idea only in the final shot simply makes the filmmaking self-conscious, and shows off the uneven creativity of the film itself.