How to Make an American Quilt

Tags

1990's, Alfre Woodard, Anne Bancroft, Dermot Mulroney, Drama, Ellen Burstyn, How to Make an American Quilt, Jean Simmons, Jocelyn Moorhouse, Johnathon Schaech, Kate Capshaw, Kate Nelligan, Lois Smith, Maya Angelou, Winona Ryder

Film Title

How to Make an American Quilt

Director

Jocelyn Moorhouse

Starring

• Winona Ryder as Finn Dodd
• Anne Bancroft as Glady Joe
• Ellen Burstyn as Hy
• Alfre Woodard as Marianna
• Maya Angelou as Anna
• Kate Nelligan as Constance
• Jean Simmons as Em
• Lois Smith as Sophia
• Kate Capshaw as Sally Dodd
• Dermot Mulroney as Sam
• Jonathon Schaech as Leon

A heartwarming tribute to female friendship and the shaping of life’s experiences, How to Make an American Quilt is a very sweet and enjoyable movie. It’s nothing revolutionary or startlingly original, but it’s story of looking to the past in order to unlock the future is beautifully directed and acted.

Finn Dodd is a 26-year-old graduate student, who is working on a thesis over the summer. She can’t quite settle on a topic and always changes her mind when she thinks she’s got the right parts. This confusion and inability to come to a decision extends to her boyfriend Sam, who has just proposed. Finn obviously cares about him, but is deeply unsure of whether marriage is a good idea for her. While mulling things over, she goes to visit her Great Aunt Glady Joe and Grandmother Hy, who themselves are sisters usually at each other’s throats. They are both part of a quilting group that includes wise leader Anna; her free-spirited daughter Marianna; stern Sophia; grieving Constance and quiet Em. They are currently in the process of making a wedding quilt for Finn and in their own ways, they each inspire her and give her support in her time of indecision. Over the summer, conflicted Finn is regaled with stories of love from their pasts; some tragic and some inspiring. We glimpse the lessons these older women have learned; from how Glady Joe and Hy became more than a little strained, why Sophia turned into such a battle-axe and in general how love is what you make of it. Also present is a hunky guy named Leon, who takes a shine to Finn and potentially throws a spanner in the works. It all comes down to whether she is ready to make a commitment or live her life in freedom.

Jocelyn Moorhouse beautifully conjures up the loving and touching lessons of life in a straightforward but effective way. We become like Finn, learning about the women who came before her and their experiences with love. Moorhouse aims for the emotions and heart with How to Make an American Quilt, and succeeds in getting you invested in the brief flashes of events that these women now speak of. As sentimental as some of it is, the gentleness and often low-key approach keeps the film on a pleasing level without slipping into overly histrionic content. the pleasures in are listening to the various experiences of these women and how young Finn reacts to them. From heartbreak and upheavals to the starts of companionship, all the stories have some weight on her and impact. Like with any film that weaves together an ensemble story line however, some of the arcs come off better than others that are patchy. This is only to be expected really as it would be impossible to craft something that gave every strand, without it turning into a marathon of a movie. The stories that make the most emotive impression are the ones of Hy and Glady Joe and the flashbacks to Sophia’s early life; where she had some promise but never got the chance to enjoy it due to the inevitability of timing. They are played out in organic and poignant fashion that knows how to get your care. The other stories all have currency, though more than a couple may have been better if expanded upon. If I was to compare this movie to something, the equivalent would be a quilt itself. It’s got some rough edges and is well-worn, but has that cosy and snug feeling that lifts your spirits. The luscious cinematography renders everything with a distinct glow. Thomas Newman’s stirring score is a big plus in this feel good movie.

If there is anyone who can play indecision and curiosity convincingly, it’s Winona Ryder. With her naturally inquisitive and youthful face, she’s excellent casting for Finn. All the confusion and searching questions are there, as she listens to the stories of the past in hopes of unlocking her future.  Anne Bancroft and Ellen Burstyn provide gentle humour, classy depth and consummate professionalism as the feuding sisters, whose grievances are plain to see but whose love for the other more than combats anything completely severing them. Alfre Woodard has the right bohemian air and fun for her role of effervescent Marianna. The wisdom and dignified grace of Maya Angelou stunningly embodies the passionate leader of the quilting group Anna. Angelou possesses a nuanced voice of experience and clarity that is impossible to ignore. I could listen to her voice all day it is that soothing and imbued with sage. Kate Nelligan and Jean Simmons are both moving as two of the women, realising they are linked through one of their husbands philandering. Lois Smith captures the well of sadness arising from someone whose ambitions were cut short, resulting in a hostility and bitterness of character. Kate Capshaw is a breath of fresh air in her small but important appearance as Finn’s flighty mother. She seems very irresponsible but what she ends up saying is quite beneficial and unexpected. Whether big or small in size of parts, all of the ladies here do good work. Dermot Mulroney does well with his limited part of Finn’s boyfriend, letting the female cast members take the lion’s share. Johnathon Schaech is largely there to provide the temptation for Finn, complete with the fact that he never seems to be wearing a shirt.

it isn’t going to win prizes for innovation, but the beating heart and gentleness of How to Make an American Quilt is effervescent that you won’t be able to resist its charms. Just cuddle up and enjoy this nice fable on life and sisterhood.

Agnes of God

Tags

1980's, Agnes of God, Anne Bancroft, Drama, Jane Fonda, Meg Tilly, Norman Jewison, Religious Drama

Film Title

Agnes of God

Director

Norman Jewison

Cast

• Jane Fonda as Dr. Martha Livingston
• Anne Bancroft as Mother Miriam Ruth
• Meg Tilly as Sister Agnes

Agnes of God is part religious drama and part mystery surrounding strange event involving a naive nun that happen in a quiet Montreal convent. Although the film at times has a few flaws and unanswered questions, it still remains a rewarding and dramatic watch thanks to the three principal performances of  Jane Fonda, Anne Bancroft and Meg Tilly and the atmospheric music that accompanies it. This is a film that will leave you thinking long and hard after the credits have finished rolling.

The film begins with the nuns of the Montreal convent going about their daily duties such as praying and helping with the land. As night approaches, the serenity and relative stillness of the convent is shattered by a piercing scream from the eponymous Agnes’ room, she is found shortly after bloodied on her floor. The audience later find out that she had given birth to a baby and allegedly strangled it to death. This is when Dr. Martha Livingston a psychiatrist is introduced into the story as the one to find out what really happened. She goes to the convent where she is greeted by Mother Miriam Ruth, the Mother Superior of the convent. The two immediately clash as a result of their conflicting beliefs, Mother Miriam secretive and disapproving of psychiatry and Martha suspicious because of her atheist belief and a past incident that led her to resent the church and religion altogether. The most curious aspect of the unusual case is that Agnes does not have any recollection of conceiving the child or indeed giving birth to it. Also none of the other nuns even knew that Agnes was pregnant in the first place. More to the point, the childlike, naive and beatific Agnes is completely unaware of where babies come from and the ways of the world. Martha then attempts to break through to the intense and devout nun and find out what really happened to her. Did Agnes really conceive a child with another man? Or is it something much deeper than that?

As a mystery the film has its moments of shock and a twist or two, but sometimes isn’t always clear enough on certain aspects of the story and leaves plot holes at various points. But as a drama, the film succeeds on a number of levels as the tension and anxiety surrounding the case begin to grow. As the chain-smoking, forthright psychiatrist, Jane Fonda is excellent especially in her scenes with the dependable Anne Bancroft as Mother Superior, who she has amazing chemistry and believability with. Throughout the film, the two clash over the best way to get through to Agnes,  but at the same time they rely on each other for information and at times guidance. Bancroft is superb as the secretive, wise and clipped Mother Superior, but beneath it all she emerges as something completely different from what she at first appears to be. But the real stand out performance  from the troika of gifted actresses is Meg Tilly as the naive, young novice Agnes. Tilly imbues the character of Agnes with childlike mannerisms and seemingly angelic demeanor, the audience is never really sure what to think of her because of the intense and thoughtful characterisation that Tilly creates. Could this sheltered young nun, with no knowledge of the outside world have really conceived a child and then killed it? It is the little nuances of the character such as her quiet almost whisper of a voice, devout behaviour and beatific smiles that make her so interesting and compelling in the story.

The look is the film should rightly be praised, the cold and sometimes eerie convent cast over in dark colours. The cinematography of Ingmar Bergman regular Sven Nykvist helps accentuate the atmospheric and holy aspects of the story. The music that underscores the film helps back up the themes of religion but also of doubt and suspicion that pervades the mood of the film. All in all, the film can be puzzling and mind-boggling at times but as a showcase for the talented players of the story it scores very highly indeed. Norman Jewison manages to create a thoughtful yet dramatic and compelling story set in the most unlikely of surroundings.