If you are interested what Lianna Massey eats for dinner, here it is then (hint: answer comes at the end of this page)
This is a cult movie, not just for rainbow people. If a hetero claims that this is not a top class cinema, he/she either didn't see the movie and just talks shit, is infantile or just immensely stupid. Most of the time all three go together. Such a claim would of course make a person laughed out of the room at any serious cinema history/philosophy conference.
This movie is full of memorable quotes which people nowadays use mostly without being aware of their origin.
If you are a young hetero boy, read this very carefully, because I will write it only once.
If you want to be once a very good lover, secretly adored by grateful footbal fan's wives, learn from this movie. I'm 100% serious. Watch PornHub if you want your future love life to consists mostly of meetings with your own hand. If your wish in life is to make love to at least dozen women from five continents, this movie is a must see. You have been warned, decision is yours to make.
General
Complete name : Lianna.1983.mp4
Format : MPEG-4
Format profile : Base Media
Codec ID : isom (isom/iso2/avc1/mp41)
File size : 1.88 GiB
Duration : 1 h 52 min
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Audio
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Duration : 1 h 52 min
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Sampling rate : 48.0 kHz
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Alternate group : 1
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Lianna
USA Lianna
Drama
USA, 1983, 113 min
Režie: John Sayles
Scénář: John Sayles
Kamera: Austin De Besche
Hudba: Mason Daring
Hrají: Linda Griffiths, Jane Hallaren, Jon DeVries, Jo Henderson, John Sayles, Chris Elliott, Maggie Renzi, Stephen Mendillo, Rochelle Oliver, Amanda Carlin
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Mohlo by to být šťastné manželství: oba jsou mladí, zdraví, mají dvě krásné děti, rozhodně netrpí nedostatkem peněz, mají spoustu přátel... Mohlo, ale není. Alespoň Lianna v něm není šťastná. Možná je to tím, že neustále cítí tu jistou nadřazenost, se kterou se k ní Dick, kdysi na škole její profesor, nepřestal chovat. Možná jí ke štěstí nestačí starat se o domácnost, být pečlivou matkou a poslušnou ženuškou svého úspěšného muže. Možná potřebuje svůj život také naplnit něčím smysluplnějším, zajímavějším. Aby se mohla realizovat, aby mohla zase být sama za sebe. Možná jí k tomu pomůže ten večerní kurs, který si konečně vyvzdorovala a který jí dovolí alespoň dvakrát týdně se osvobodit od věčného kolotoče nikdy nekončících domácích prací. A Lianna dychtivě nasává všechno to nové, co jí tahle zkušenost přináší: nová témata, nové tváře, nová přátelství. A nové lásky. Tak nové, že by tomu sama ještě před pár týdny odmítala uvěřit. Ale nikdy není pozdě na to uvědomit si, kam člověk patří...
John Sayles napsal scénář tohoto filmu ještě před svým režijním debutem, kterým je snímek Návrat do Secaucusu z r. 1979. V sedmdesátých letech minulého století se mu však nepodařilo získat prostředky na film o lesbické lásce, a těm, kdo by byli ochotni takovýto film financovat, zase nebylo po chutí, že by jej měl natočit muž. Sayles se tedy k tomuto námětu vrátil až poté, co si vydobyl ostruhy svými dvěma prvními filmy. I přesto jej však musel kvůli problémům s rozpočtem natočit na 16mm film místo plánovaných 35mm.
Na působivém vyznění snímku má nepochybně lví podíl představitelka titulní role Linda Griffithsová, zajímavé je jistě i to, že jednu z menších rolí - přítele Jerryho - si zahrál režisér sám.
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Lianna je zajímavě natočený snímek, který je uvěřitelný. Jednotlivé scény a záběry kamery na sebe dokonale navazují. Film tak plyne zcela logickou cestou. Navíc zde odvedli výbornou práci herci (hlavní hrdince jsem opravdu fandil), kteří nikterak nepřehrávali. Film nehlásá žádná radikální poselství, jen říká: buďte sami sebou a snad vás okolí pochopí. Dávám 4 hvězdičky
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Zhruba dekádu předtím než se to stalo módní záležitostí, přišel Sayles s příběhem o lesbickém vztahu na americkém maloměstě. A přestože to tehdy mohlo být téma skandální, přistoupil k tomu naprosto civilně a velmi věrohodně ukazoval, jak se k takovéhle ženě chová okolí. Dokonce odolal i tomu, aby to vyhrotil do nějakých tragických rozměrů. Prostě taková historka ze života.
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10/10
One of Sayles' very best films
Sayles' second feature as director, and his first great film. It's not perfect, has its share of clichés and is certainly dated, but it's wonderful. Linda Griffiths stars as Lianna, a young mother of two who is constantly suffering under her smarter, controlling husband, a film professor (Jon DeVries). Lianna doesn't have much of a life, but she manages to sneak in a night class twice a week. She develops what seems to be a non-romantic crush on her professor (Jane Hallaren). When her husband cheats on her, the relationship with her professor changes to a sexual one. It would be easy to hold the fact that Sayles is a man against the movie. However, Sayles does here what he does best: create strong, identifiable characters for whom we care. Lianna is really one of the best developed characters I can remember. I absolutely love the way Sayles makes her intellectually inferior to both her husband and lover. It gives her struggle a lot of weight. And I love the line she says to her husband: "Just because you can argue better doesn't mean you are right." She breaks my heart. The power structure between her and her husband is brilliantly written. I also liked that Sayles creates a new power structure, and not one wholly different from the marriage, between Lianna and her lesbian lover. My only complaint is that Sayles does sometimes treat Hallaren's character too kindly. She's clearly taking advantage of Lianna, and at times she's clearly treating her badly. In fact, the relationship starts exactly the same way as the relationship between Lianna and her husband. She was once his student, as well. The parallel isn't underlined as well as it should have been. I think Linda Griffith's performance here is one of the best ever. It's a tragedy that she didn't become famous after this. I know that Sayles isn't the greatest director (specifically referring to the direction) in the world, but this is some of his best work on that front (his very best is certainly Matewan). Of course his greatest talent is his writing; he is such a remarkable writer of human interrelationships. Sayles also gives his best performance as an actor in this film. Lianna is such a subtle work of human emotion. It really doesn't have any big moments, and it doesn't end with any clear resolution. The film's power only hit me about 20 minutes after it was over. It's a small masterpiece.
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Ahead of its time
Lianna (Rachel Griffiths) is unhappily married to a cheating husband (John De Vries) and has two children. She falls for a female teacher (Jane Hallaren) and realizes she's a lesbian. She starts an affair with her and realizes she can't stay with her husband...she must find her own identity as a lesbian.
It's hard to believe this was made in 1983. Definitely a ground breaker. I remember it played forever in a small art house cinema in Cambridge MA. I didn't see it back then but I'm glad I got the chance. BTW, it was beautifully restored in 2003 and that's the print I saw. John Sayles wrote and directed the film and, like all his films, it has incredible dialogue and a believable script. This is probably the first realistic film to show a woman coming to grips with her sexual orientation--and embracing it completely. It does show the hardships she goes through adjusting to a life on her own and the relationship problems--but that's very true to life. The trip to a lesbian bar was surprising in a film this old. The acting by the leads is superb--Griffiths is perfect and Hallaren matches her. De Vries is good also but he's stuck with a 1 dimensional villain role. The supporting roles are somewhat amateurish--but they don't lessen the film. In fact it makes it seem even more realistic! The sex scenes are explicit but tasteful.
It's hard to believe a man wrote and directed such a sensitive portrayal of a woman. My only complaint is that it's a bit overlong--but this still should be seen. A groundbreaking and very honest film.
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A Sayles masterpiece about the lesbian experience, far ahead of its time
John Sayles' ability to get you acquainted with his characters shines again in this study of a wife and mother who is coming to terms with her sexuality. Unlike the tawdry stories that focus solely on the sexual aspect of lesbian relationships, Sayles explores and reveals the complexity of discovering homosexual orientation - what it means to Lianna as her sexuality emerges from repression and what it means to her and others that she chooses to live truthfully with it.
There are some very rare vignettes in this film that bely what it is like to discover the attractiveness of women for the first time. Sayles does such a masterful job at portraying this process of discovery - it is joyful, playful, and exciting. These scenes remind me of Truffaut's "The Man Who Loved Women" (also badly remade in the USA, starring Burt Reynolds), but they seem to have a more natural depth and feel. Sayles' movies are typically populated with real characters, not posing movie stars. This film is true Sayles...so much is at stake for Lianna, and you are drawn into the aspects and dimensions of her life, the complexities and facets of the human sexual nature and of life in general, and what it means to come to terms with being gay.
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Another John Sayles jewel - a beautiful film that is revealing yet not intrusive
John Sayles, portrays a realistic story of lesbian love. Though the film is 23 years old, it has all the trappings of a classic film, as the subject matter and the characters could easily take place at any time, in any place in history or currently.
Intimate and delicate, the story of a young married woman (Lianna) who's restrictive world of stuffy husband, kids and homemaking is slowly coming undone. For enrichment, she takes a class at a local college where her teacher, Ruth, makes a great impact on Lianna who sees Ruth as a strong, decisive, smart woman. These qualities are the initial attraction for Lianna and as her friendship with her grows, Lianne feels long forgotten feelings she had as a young girl before she settled into the more traditional role of marriage, children and the occupation of housewife.
At the end of the film, Lianna is free in many aspects of her life and as the credits role, the viewer can't help but take that feeling of relief and freedom with her . A lovely film.
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