Analysis of information sources in references of the Wikipedia article "Rachel Getting Married" in English language version.
After a while, Debra Winger shows up as the sisters' quasi-estranged mother, and she and Hathaway have a fight scene that's as raw as Ingmar Bergman and as operatic as Mildred Pierce.
This melting-pot wedding creates a frisson of its own; it's a vision of a new world. I do wish that Demme hadn't let the wedding music, by Robyn Hitchcock, Sister Carol East, and a few others, take over the last act. This much healing-by-'80s-hipster-taste is too much. But Rachel Getting Married is still a triumph—Demme's finest work since The Silence of the Lambs, and a movie that tingles with life.
Helping give this story its essential air of reality is the decision Demme and cinematographer Quinn made to shoot it as what they call "the most beautiful home movie ever made." The director chose not to plan shots in advance, instead giving Quinn (whose credits include Mira Nair's "Monsoon Wedding") the ability to respond in the moment to what was going on with the actors, and it's a tribute to his ability (and that of editor Tim Squyres) that his camera always seems to be in the right place at the right time.
It's a small movie, and in some ways a very sad one, but it has an undeniable and authentic vitality, an exuberance of spirit, that feels welcome and rare.
I hope nonetheless that Rachel Getting Married is enough of a hit to sustain his career of cinematic good works.
And so on. Apart from the story, which is interesting enough, 'Rachel Getting Married' is like the theme music for an evolving new age.
After a foray in documentary films, director Jonathan Demme has returned to narrative storytelling, assuming a decidedly cinéma vérité style that has echoes of Robert Altman.
The film's greatest asset is the sense of cringing realism in portraying dinner parties and interpersonal encounters that can throw family members off-kilter.
After a while, Debra Winger shows up as the sisters' quasi-estranged mother, and she and Hathaway have a fight scene that's as raw as Ingmar Bergman and as operatic as Mildred Pierce.
This melting-pot wedding creates a frisson of its own; it's a vision of a new world. I do wish that Demme hadn't let the wedding music, by Robyn Hitchcock, Sister Carol East, and a few others, take over the last act. This much healing-by-'80s-hipster-taste is too much. But Rachel Getting Married is still a triumph—Demme's finest work since The Silence of the Lambs, and a movie that tingles with life.
After a foray in documentary films, director Jonathan Demme has returned to narrative storytelling, assuming a decidedly cinéma vérité style that has echoes of Robert Altman.
The film's greatest asset is the sense of cringing realism in portraying dinner parties and interpersonal encounters that can throw family members off-kilter.
