
The love which binds mother and daughter - seen through the prism of one mother's life as it crests with optimism, navigates a turning point, and ebbs to its close. Overcome by the power of memory, Ann Lord (Vanessa Redgrave) reveals a long-held secret to her concerned daughters; Constance Haverford (Natasha Richardson), a content wife and mother, and Nina Mars (Toni Collette), a restless single woman. Both are bedside when Ann calls out for the man she loved more than any ot... (Full plot summary below)
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The love which binds mother and daughter - seen through the prism of one mother's life as it crests with optimism, navigates a turning point, and ebbs to its close. Overcome by the power of memory, Ann Lord (Vanessa Redgrave) reveals a long-held secret to her concerned daughters; Constance Haverford (Natasha Richardson), a content wife and mother, and Nina Mars (Toni Collette), a restless single woman. Both are bedside when Ann calls out for the man she loved more than any other. But who is this "Harris", wonder her daughters, and what is he to our mother? While Constance and Nina try to take stock of Ann's life and their own lives, their mother is tended to by a night nurse (Dame Eileen Atkins) as she journeys in her mind back to a summer weekend around fifty years before, when she was Ann Grant (Claire Danes), a young woman who has come from New York City to be maid of honor at the high-society Newport wedding of her dearest friend from college, Lila Wittenborn (Mamie Gummer). The bride-to-be is jittery, and turns to her maid of honor rather than her own mother for support. Ann stays close to her friend, yet is even closer to Lila's irrepressible brother Buddy Wittenborn (Hugh Dancy). Unexpected feelings surge forth once Ann meets wedding guest Harris Arden (Patrick Wilson), a life-long friend and intimate of the Wittenborn family. Ann's love for Harris will change her life, and those of her daughters, forever.
Leave your thoughts about Evening.
| FilmsInReview.comVictoria AlexanderA bore. I kept saying to myself: "Die already!" |
| Bangor Daily News (Maine)Christopher SmithThe film is a fine example of what works within the pages of a book doesn't necessarily work onscreen, particularly when the book in question is as dense as Minot's, and apparently as fragile. |
| OhmyNews.comBrian OrndorfEvening is melodrama with the brake lines slashed -- a curiously dreary installment of the "Who Has More Psychological Baggage!" game show where every character is a winner. |
| San Diego Union-TribuneDavid ElliottEvening reaches for depth, at times plodding, never cloddish. The lessons about choice and loss and getting on in life have some decent heft, and there is a sunset magic in Redgrave's eyes. |
| Entertainment InsidersJanos GerebenIt holds attention, offers admirable performances, and engenders emotional involvement as few recent movies have. |
| E! OnlineMatt StevensThis disappointing drama packs in too many characters, too many talky scenes, too many flashbacks. |
| Houston ChronicleAmy BiancolliEverything about Evening seems engineered to liquefy moviegoers, specifically middle-age female moviegoers who miss their mothers. This would include me: I was a sloppy mess by the end. |
| Seattle Post-IntelligencerSean AxmakerEvening is so distanced from the emotions of the story that it never breathes on its own. |
| Chicago TribuneJessica ReavesThe film, like the book, is clear-eyed without being clinical, reflective but never maudlin. |
| FilmStew.comKevin BiggersVanessa Redgrave pursuing a poorly CGI-ed butterfly, with this incredibly idiotic look on her face, reminded me of a time I saw a retarded dog chasing a tree. |