Aside from its intrinsic merits, then, “One True Thing” stands as an effective riposte to the narrow-minded industry tendency to pigeon-hole filmmakers, as well as a successful effort by Franklin to flex an entirely different set of creative muscles.ĭirected with a restraint that is unfortunately undercut by a conventionally maudlin score, pic is set, for no apparent reason, in 1987-88. The universe portrayed in former New York Times columnist Anna Quindlen’s 1995 novel, centered on an intense young journalist forced to return to her childhood home to care for her cancer-stricken mother, is about as far afield from the criminal cinematic world of Franklin’s “One False Move” and “Devil in a Blue Dress” as one could imagine.
0 Comments
Leave a Reply. |