Evening
Director: Lajos Koltai
Rated: M
Palace Nova Cinemas
Now screening


The term 'chick flick' has become part of common speech. For the politically correct, it's a derogatory term used by misogynists to denigrate films that focus on romance or relationships instead of car chases and violence. However, while that may be correct, some films are just so 'fem-oriented' that the label fits like a glove. Lajos Koltai's 'Evening' is such a film.

Ann (Vanessa Redgrave) is close to death and being cared for at home by her daughters, Constance (Natasha Richardson) and Nina (Toni Collette). When Ann calls out the name "Harris" in a daze, Nina, in particular, becomes preoccupied with unlocking this apparent secret from her mother's past. Then we are transported in flashback to a young Ann (Claire Danes) arriving at a picturesque Newport mansion where she is to be bridesmaid at the wedding of her close friend Lila (Mamie Gummer). Ann soon discovers that Lila is not in love with her fiancˇ, but the handsome Harris (Patrick Wilson). Ann also finds herself attracted to Harris, but can't free herself from the attentions of Lila's brother Buddy (Hugh Dancy). As the narrative moves between the two time frames, it becomes clear that the wedding was a watershed moment in Ann's life where a life with her true love may have been lost. Ann's past juxtaposes with Nina's current dilemma, pregnant and uncertain about commitment with the child's father.

'Evening' is a bittersweet musing on life and how a combination of convention, lack of courage and circumstances can forever shape a person's destiny. With the notable exception of Buddy, all the protagonists compromise (or at least appear to do so) and pay a heavy price. However, there is also a sense of fundamental humanity and forgiveness about why we compromise and that the passion that accepted as truth might be blinding us to reality (picture Buddy's fate). I did not find the formula completely satisfying, but the three women behind me had their handbags open early and the tissues were working overtime by the film's conclusion.

The strength of the film comes from the women's performances. Danes is luminous as the young Ann and Collette (she might not have the profile of Nicole Kidman, but she's just as good) is touching as Nina. The male characters are less developed, although Dancy is an exciting talent. The cinematography and the locations are lush, but too much so - like a postcard or a Barbara Cartland cover.

Mal Byrne