Showing 1 - 3 of 3 annotations associated with Connelly, Jennifer
- Schilling, Carol
Summary:Creation tells the story of Charles Darwin (Paul Bettany) at home with his family in Down House during the last decade he researched and wrote, but hesitated to publish, The Origin of Species (1859). The film represents the sorrow of those intellectually ripe years when he worked out his insights into the process of natural selection as his "radiant," beloved daughter Annie-Anne Elizabeth-(Martha West) became fatally ill. These events were compounded by Darwin's own mysterious chronic illness, which he attempted to relieve through laudanum and trips to Great Malvern for Gulley's cold water cures.
In 1851 he took a very sick ten-year-old Annie with him to the waters and, inconsolable, left her to be buried in the local churchyard. Through his physical and emotional suffering, he continued to dissect barnacles, breed and skeletonize pigeons, engage the village parson and local farmers alike, consult with supporters Thomas Hooker and Thomas Huxley, exchange hundreds of letters, and remain an affectionate father and husband.
The loss of "the joy of the Household" strengthened his wife Emma's (Jennifer Connelly) religious beliefs, as it exhausted whatever might have existed of his. The story, artfully told in beautifully sequenced flashbacks, keeps the tensions and accommodations between Charles and Emma on the subject of religious faith in balance, emphasizing their loving partnership as spouses and parents. Emma supported his work, read his manuscript, and understood its importance, even as she disagreed with its implications for her spiritual life. Darwin contributed to the local parish church Emma attended.
Some of the most compelling moments in the film occur during Darwin's joyous outings with his children when they suddenly witness the demise of woodland creatures. In these scenes, the ineluctable struggles between life and death that Darwin's theory of natural selection eloquently describes resonate with his personal experience. We see a fledgling fall from its nest near a sheep's skull and decay before our eyes. We hear Annie explain to her horrified siblings that if the fox they encounter didn't kill the screeching rabbit in its jaws, its pups would die.
These scenes, along with the earlier view of the captive Fuegian child Boat Memory dying of small pox in an English hospital, suggest the fragility of the young that Annie's death makes devastatingly personal for Darwin. The film simultaneously acknowledges Darwin's empirically derived logic of such deaths in his scientific treatise and his suffering from the brutal manifestations of that logic in the life of his family. While scientific explanation fails to console him for the loss of Annie, the film suggests human affection as the best, though still potentially painful response.
- Nixon, Lois LaCivita
Four doomed characters illustrate the downward course of drug initiation and addiction. Aronofsky's innovative portrayal is arrestingly brutal and compelling; many viewers will be disturbed by penetrating and darkly lucid visual effects guiding the descending spiral--from spring to winter, from life and hope to destruction and death.
One character, Sara Goldfarb, played courageously and brilliantly by Ellen Burstyn, becomes addicted to diet pills prescribed by a despicably careless physician. The other characters--her son, Harry (Jared Leto) and his two friends (played by Marlon Wayon and Jennifer Connelly)--are heroin addicts and dealers. In separate ways all move toward the same abyss.
Although graphic and, at times, extremely difficult to watch, the frightening nightmare of addiction should be required viewing for those who might yet succumb and those who think that just saying "no" works. The grisly and unbearably sad storyline and its explicit horror recalls the 1989 film and novel on which it was based, Last Exit to Brooklyn, also written by Hubert Selby, Jr.
- Woodcock, John
This film was inspired by the true story of mathematician John Forbes Nash, Jr., who was one of three Nobelists celebrated in 1994 for their work in game theory. The film is driven by the agonizing conflict between Nash’s mathematical brilliance and the paranoid schizophrenia which almost destroys both his career and his marriage to Alicia Larde (Jennifer Connelly). The film shows Nash (Russell Crowe) as obsessed and, in schizophrenic episodes, delusional and occasionally violent. He undergoes 1950s insulin shots and later is on and off pills that seem to take away his brilliance along with his schizophrenia.
Late in the film he is off medication and says, in effect, that he has decided not to be deluded by delusions. The film ends with a triumphant series of scenes around the Nobel Prize, including the tribute of his colleagues at Princeton’s Institute for Advanced Study and Nash’s emotional Nobel acceptance speech at Stockholm expressing his gratitude to his wife for standing by him.