Anne Fontaine
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The screenplay was co-written by Fontaine and playwright and screenwriter Christopher Hampton (“Dangerous Liaisons,” “A Dangerous Method”).
The screenplay is by Christopher Hampton, Oscar-winner in 1989 for his script for "Dangerous Liaisons," adapted from his own play.
And the adapted screenplay comes from a respected writer: Christopher Hampton (who won an Oscar for adapting " Dangerous Liaisons ").
Adapted by the playwright Christopher Hampton (“ Dangerous Liaisons ,” “ Atonement ”), the film adheres to Lessing’s own spare, unyielding prose — a framework Fontaine regrettably festoons with vapid beauty shots and longingly pretty gazes.
Instead, there is lots of cuddling and spooning and scenes in which Lil and Roz frolic in the surf with their sons like Frankie Avalon and Annette Funicello in Beach Blanket Bingo while a happy salsa song plays on the soundtrack.
She goes at it with much the same lip-smacking wiggle that Marilyn Monroe employed while playing paddle ball in “The Misfits.”
In 1992’s Damage, when Jeremy Irons started having an affair with his son’s fiancee (Juliette Binoche), director Louis Malle graphically depicted the ferocity of their illicit encounters, making us understand why Irons was unable to resist his disastrous desires.
Phantom Thread (2017)
Directed by Paul Thomas Anderson
influenced by Coco Before Chanel (2009)
Themes
I don’t recall such a thrilling cinematic portrayal of couture since 2009’s Coco Before Chanel.
Surely, they've seen Peter Lorre in, say, M, Kevin Spacey in Se7en, and whatever it was that Stanley Tucci was doing in The Lovely Bones.
The script from Christopher Hampton (“Atonement”) isn’t quiet up to the talent’s level, particularly the dialogue that could have used more than a bit of polish.
Christopher Hampton ("Atonement," "A Dangerous Method") adapted the novella by Doris Lessing with no success in elevating the story or dialogue.
French director Anne Fontaine (Coco Before Chanel) and British screenwriter Christopher Hampton (Atonement) come to the conclusion that some people are afraid of growing old and would prefer to spend their days with those who are much younger.
Adapted by the playwright Christopher Hampton (“ Dangerous Liaisons ,” “ Atonement ”), the film adheres to Lessing’s own spare, unyielding prose — a framework Fontaine regrettably festoons with vapid beauty shots and longingly pretty gazes.
The first half of Queen of Hearts approaches the conduct between an older woman and a much younger man much like author Doris Lessing’s The Grandmothers which was adapted into the sensational film called Adore by Anne Fontaine.
The screenplay was co-written by Fontaine and playwright and screenwriter Christopher Hampton (“Dangerous Liaisons,” “A Dangerous Method”).
Christopher Hampton ("Atonement," "A Dangerous Method") adapted the novella by Doris Lessing with no success in elevating the story or dialogue.
Surely, they've seen Peter Lorre in, say, M, Kevin Spacey in Se7en, and whatever it was that Stanley Tucci was doing in The Lovely Bones.
There’s not even an allusion to a particular acronym made popular in American Pie.