Word: parfitt
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Starring Kathy Bates, Jennifer Jason Leigh, Judy Parfitt & Christopher Plummer drected by Taylor Hackford...
...based on Stephen King's novel about a middle aged Downeast Maine housekeeper (Kathy Bates) who is suspected of committing two murders. Dolores was investigated for killing her husband Joe (David Strathairn) twenty years ago, and is now under suspicion in the recent death of Vera Donovan (Judy Parfitt), her long-time employer. Detective John Mackey (Christopher Plummer), who investigated Joe's death but couldn't pin it on her, returns to investigate the death of Vera. He is determined to nail Dolores for it. The film departs from the book when Dolores' daughter Selena (Jennifer Jason Leigh), seen only...
Dolores' scenes with Joe and Vera are the best of the movie, not only because Bates does them so well, but also because the other characters are so well developed by the actors. Judy Parfitt is chilling as the fascistic, over-powering Nancy Reaganesque hostess; and David Strathairn portrays Joe with psychotic evil. Bates won the Oscar for her amazing performance as a crazed literary fan in "Misery;" in "Dolores Claiborne" she continues to prove that she is the perfect King actress...
...also a tough-minded, coarse-tongued woman who is supporting herself by taking care of Mrs. Donovan (Judy Parfitt), a rich-bitch invalid, and mourning her estrangement from Selena, her deeply disturbed daughter (Jennifer Jason Leigh). Precisely because of the absence of decent men in her life, Dolores is obliged to combine traditional masculine and feminine roles in one surprising, ultimately endearing persona...
...latest Stephen King best seller to hit the big screen features Kathy Bates as a coarse-tongued yet endearing heroine who supports herself by caring for a rich invalid (Judy Parfitt) while mourning her estrangement from her deeply disturbed daughter (Jennifer Jason Leigh). The villain is Dolores' husband, a drunken wife beater (David Strathairn) who deserves the bad end she arranges for him in a tale complicated by its vagueness. "King boldly uses the most primitive and melodramatic forms to explore very basic emotional issues," says TIME critic Richard Schickel. "This is his fantasia on feminist themes...