Word: paquin
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That being said, there were three amazing things about the film. First, the two child actresses are phenomenal. Bella Riza (Bea) and Carrie Mullan (Lucy) remain natural and true throughout the entire movie. I haven't seen child acting like this since Anna Paquin in The Piano. Secondly, the male lead, Said Taghmaoui, was fascinating to watch. He can speak to the camera with a simple lifting of his eyebrows. And lastly, as I said before, the cinematography is impeccable--think of the breath-taking desert shots in The English Patient and add some mysteriousness; it's entrancing...
...Pearl becomes involved with an enigmatic blouse-seller named Walker (Viggo Mortensen), a drifter who epitomizes the care-free existence of that generation. Pearl's regression from upright mother and wife to liberated--and thus irresponsible--woman is contrasted by the simultaneous coming of age of her daughter (Anna Paquin...
...summer of 1969, raises similar issues: How young can you get old? And can you get young again? Pearl Kantrowitz (Diane Lane), who is maybe 32, thinks she's an old lady because she has a tepid husband Marty (Liev Schreiber) and a daughter Alison (Anna Paquin) who at 14 is revving up for the sexual adventures Pearl never enjoyed. She says of Alison, "I just hope she doesn't end up like us." Poor Pearl. In a Catskills bungalow not far from Woodstock, she feels she's already come to a dead end in her undramatic life story...
...look past the gaffes and cliches into the heart of the performances. Here you find Paquin lending a tough intelligence to Alison's confusions; and Lane so all-American gorgeous she needn't act to be the center of every shot. She does act, though, and nicely. She locates Pearl's yearning in vagrant sighs and in sidelong glances at the big world exploding, outside her small one, into sex, drugs and eternal adolescence...
...version, revised the play after directing it himself in 1988 and now finally takes another crack at it with this screen adaptation of beautiful downtown 1998. Many of Rabe's revisions heightened the themes of destiny and accident (e.g engineered or semi-engineered, whether Ryan's Bonnie or Anna Paquin's waif), which help point us toward the films philosophical crises and away from the emotional ravages. We don't have to excuse or condone the behavior of Eddie and the other rats to appreciate the central struggle Penn's character embodies...