Dolores Claiborne isn’t just a mother and daughter picture… it’s not just a mother and daughter picture made by a bunch of men (directed by a man, produced by men, screenplay by a man based on a novel by a man), it’s Panavision visual experience mother and daughter picture. Director Hackford–ably assisted by Gabriel Beristain’s photography–creates a vivid, lush visual experience. It’s stunning; every time Hackford intensifies the color scheme, it heightens the film’s impact. He does a fantastic job.
Watching Claiborne–for the first time since I was a teenager, probably–I noticed how Kathy Bates’s titular protagonist has, through a trauma, become unstuck in time. It all makes sense, by the end of the film, as a traditional narrative arc for the character, but Hackford’s then got to account for the Technicolor flashbacks (versus the drab modern day). And he does.
Hackford includes a Vonnegut reference, a very quiet one, and it’s hard not to see it as intentional, given those time slips. Hackford’s whole composition scheme is based on those slips and how they jar both the viewer and the character.
There shouldn’t be enough story for a film here, certainly not one running over two hours. With Hackford, Tony Gilroy’s script and Bates’s spellbinding (not one of my regular adjectives) performance, there’s more than enough. Actually, it ends too soon.
Outstanding supporting performances from Jennifer Jason Leigh, Christopher Plummer, David Strathairn and Judy Parfitt further deepen the film.
Excellent Danny Elfman score.