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With bills that can’t be paid and a spouse who has effectively abandoned her and her son, she gravitates toward a much older man, Warren Miller (Bill Camp), a rich widower who’s unnervingly comfortable taking advantage of her — even in front of her son.reminded me of Annette Bening’s: low, husky, and lived-in, but with even more upper range when the pressure mounts.In the course of an amazing and horrifying sequence, a dinner at Miller’s house to which Joe has been invited, Jeanette launches into a drunken, seductive dance: She’s telling Miller she’s available, and her son, too.Mulligan conveys both the shame and Ann-Margret–like exuberance of Jeanette’s surrender — if she’s going to do it, she’s thinking, she’s not going to hold back.I’m not sure that Farrell is going to make a deal — sources said it’s 50/50 — and Jones is testing other actors for the major roles.
Bill Camp seems able to take any part and make you wish you could see a whole movie about him. There are a few times that Dano tries too hard: an odd angle he doesn’t need, a too-self-conscious evocation of the American past. He gives his actors space so that the rhythms are their own, and they hold us through the tough final scenes and bittersweet ending.
stars Carey Mulligan and Jake Gyllenhaal as married couple Jerry and Jeanette with a young son Joe, whose domestic life is disrupted by Jerry’s decision to help fight forest fires, a dangerous and deadly occupation.
Frustrated, Jeanette finds solace in the arms of a wealthy car dealer, played by Bill Camp.
In early scenes, Jeanette is herself playing a part: the loyal, beautifully coiffed ’50s homemaker who soothes her husband’s anxieties, however much he screws up.
As strong as Jeanette appears, though, her persona has been contrived to fit her particular time, place, and culture.