John (Greg Wise) disappears from Effie’s sight as soon as they arrive at his parents’ manor after their wedding. Her suffering is interesting, but she is not.Īlso Read: Kevin Kline Seduces Dakota Fanning in ‘The Last of Robin Hood’ Trailer
Turner” in resplendence, but a disappointingly timid and decorous work that takes more care in outlining oppression than in creating a compelling protagonist. It’s also a sumptuously elegant picture, rivaling last year’s “Mr. Danvers-esque mother-in-law (Julie Walters). (Alas, the only hair on view is attached to the actors’ heads.) The film opens with a cloying children’s story of a fairy-tale match gone awry, but the rest is closer to a brocaded Gothic, complete with the slow poisoning of the ingénue ( Dakota Fanning) by her jealous, Mrs.
Their union was never consummated, so the story goes, because the influential intellectual was too repulsed by the sight of his wife’s loins, which were rather dissimilar in appearance from what Ruskin was used to seeing on women in paintings and sculptures.ĭirector Richard Laxton (“Burton and Taylor”) and screenwriter Emma Thompson retell the saga of Effie Gray’s suffering under and eventual escape from her eccentric husband, this time as a more conventional story of female subjugation. Pubic hair ended the marriage between Victorian art critic John Ruskin and his teenage bride Effie Gray, according to popular lore.
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