From The New Yorker
Truman Capote loosely based his 1951 novella on his childhood with spinster aunts in the South. In Charles Matthau's sentimental adaptation, Piper Laurie and Sissy Spacek, who were a mother and daughter in De Palma's "Carrie," are reunited as the sisters. Spacek smartly underplays the proper Verena's businesslike brilliance. As Dolly, Laurie has been saddled with too many saintly attributes, but she makes her character an ethereal earth mother, giving her the weight to carry her head-in-the-clouds lines, and delivers a remarkable performance. The cast is filled with wonderful actors: Walter Matthau (the director's father), Roddy McDowall, Mary Steenburgen, Jack Lemmon, and sleepy, doe-eyed Edward Furlong as the sensitive young narrator. But the writers, Stirling Silliphant and Kirk Ellis, underestimate the poetic power of Capote's quiet storytelling, underlining emotions that should merely be suggested, and, though Matthau's direction is clean, he compounds their mawkishness by cueing the audience's responses with syrupy music. It's not a bad film by any means, just an obvious one. -Bruce Diones
Copyright © 2006
The New Yorker
Product Description
In a small Southern town in the 1930s, two sisters are at odds with one another after one has ensconsed herself in a treehouse.