Effie Gray

It's one thing arranging all the finest acting talent in a film, and having great period detail and costume design, but it's totally another to keep you invested enough for 110 minutes of your life. Effie Gray just about manages to get over the finish line, but not with any great impact. Expect to reasonably entertained, but to stay perfectly still in your seat (with the occasional glance at your watch).

Effie is stuck in a loveless marriage... Her husband is an art critic... Completely under the thumb of his demanding parents... Who insist he stays at home e.g, forget about the newlyweds getting a place of their own. Her new partner is obsessed with his work, to the point of barely acknowledging her existence. He doesn't even show any interest in consummating their nuptials, for instance... The first night he sees her naked, he bursts into tears and runs out the room. Hmm... Can you say 'issues'?

Then, during an impromptu trip to Venice, she runs into a young painter who is everything her hubby is not... empathic, fun-loving, and deeply in love with her. Sadly, she's stuck with Mr Grump, for the simple reason that if she did split up with him, it would ruin her family name... And besides, getting a divorce back in the 19th century was SLIGHTLY more difficult than it is now. The situation is complicated further by a strange illness she has, which involves copious amounts of hair loss. Hmm... Who'd have though boredom and enforced virginity would have such a toll on your health?

With Effie Gray, you get the distinct impression that lots of the scenes which involve people pottering about in front of beautiful vistas, and staring in the distance while the music swells in the background, could have been dramatically cut... To no great loss of the plot. My theory is, some self-inflated 'important' movies such as this almost feel obligated to unnaturally expand the length beyond what the script requires, to make it FEEL more epic. This tends to not work (It certainly doesn't here) and just leaves quite a bit of dead air.

Still, as I mentioned, the cast full of stalwarts such as Julie Walters and Emma Thompson all do their part to keep things ticking over nicely, and Dakota Fanning does the uphill trajectory of her career no harm at all with an emotionally wrought performance, backed up with a dead-on English accent. In fact, there's not a lot wrong here that couldn't have been avoided with the judicious use of a metaphorical pair of scissors. About 20 minutes off the top should do it, luv.

As it stands, I was mildly interested when I should have been enthralled. Less it sometimes more, ya know? 6/10

The eponymous heroine was the only wife of John Ruskin (1819-1900), who was to art criticism and various writings on a variety of social issues as Charles Dickens was as novelist, i.e., of very high stature. Effie Gray (Dakota Fanning) was 20 years old at the time of their marriage and there's an early scene where she lets the remaning garment fall on the floor while standing in the middle of the room on her wedding night. He leaves the room, disgusted, and never gets over it. And so the story is of a neglected wife.

It seems unlikely that a young bride would exhibit that type behavior in an high-born household during Victorian times but history shows that something did actually happen on their wedding night, though exactly what is unknown. There is a clear impression that there is more going on with Ruskin's sexuality and attitudes toward women than a single incident on a wedding night (though there are no overtones of homosexuality).

Emma Thompson has a minor role but she wrote the screenplay, which may be a first with her. But I hesitate to put the blame on her for a film that I thought was at times dull. The teleplay seems lacking at the end and I don't know whether there were errors in judgement or whether it was just showing an admirable restraint. Those who like this better than me would probably see this as quietly rewarding (to coin a phrase). For me, perhaps too quiet.

I did like the story.

She was a little girl being courted by an old man who married her once she became of age but would rather pleasure himself than touch his wife who he married for the purpose of cultural stature it seems. She needs a way out which was quite difficult in the Victorian-era of England.

I love movies set in the Victorian age. The costumes the art direction. The set design did stand out in this pic. It reflected how cold and distant the family this little girl married into was.

Also like how it was set up to be very stage like in the movement of certain people in and out of the scene.

Dakota Fanning did a fine job. Give her an A for always choosing challenging roles vs the easy ones girls her age usually take. I don't see this role doing anything for her career but I could be wrong.

Impress that Emma Thompson wrote it.

But overall the movie was too slow and the plot could have been summed up in a smaller amount of time. It seemed that a lot of the movie was to set up the frustration the little girl had with not being able to perform any "wifely" duties and to make her husband and in-laws hated. I found them strange yes, but the film never quite explains the strangeness, which makes it fall short.

It's based on a real story and It's probably better to hear that than to watch the movie. That'll waste less time and get to the point faster.

Effie Gray (Dakota Fanning) is the eager teenage bride to prominent art academic John Ruskin (Greg Wise). On the other hand, he is cold to her affections. His unreasonably overprotective mother (Julie Walters) tells her to leave him alone to his work. He champions pre-Raphaelite paintings and John Everett Millais (Tom Sturridge) in particular. Sir Charles Eastlake is the president of the academy and his progressive wife (Emma Thompson) befriends Effie. Effie grows lonely in the stifling home and more attracted to Millais setting off a scandal in Victorian England.

The first half is dull like John Ruskin. There are snippets of goodness from Walters and Thompson. Fanning is captured by the costume drama. Sturridge starts to make himself known at the midpoint. The slow pacing really kills this. Society has imprisoned Effie and the narrative has imprisoned this movie. One way to empower Effie would be to make her more compelling and more capable in the artistic world. Is John Ruskin supposed to be closeted and can they make that part of the story? This movie needs something to energize it and spice it up.

EFFIE GRAY was strangely overlooked by the public despite a sterling cast enacting Emma Thompson's screenplay re-enacting the lives of the Victorians John Ruskin and is failed marriage to Effie Gray and the entry of romance between Effie and the brilliant Pre- Raphaelite painter John Everett Millais. Perhaps the primary flaw in this little beautifully photographed period piece is Director Richard Laxton's sluggish pacing of the film – It does drag on forever, unnecessarily. (Laxton's other films include Burton and Taylor, River, and An Englishman in New York.)

The basis of the film is a true Victorian scandal of Effie Gray being the first woman to divorce her husband. In 1848 the 29-year-old art and architecture critic, author and painter John Ruskin (Greg Wise) married Euphemia 'Effie' Gray (Dakota Fanning), the beautiful 19-year-old daughter of family friends. After six increasingly unhappy years, Effie fell in love with her husband's protégé the famous Pre-Raphaelite painter John Everett Millais (Tom Sturridge) and set about having the marriage annulled. What reverberated then and now was that the reason given for ending the union was non- consummation. But what really snagged in the public consciousness was Ruskin's explanation of why he didn't fulfill his marital duties (was he gay, simply repulsed by the fact that Effie has pubic hair unlike the classical female figures of art, etc – questions that have not been answered). Effie struggles with John's overbearing parents (Julie Walters and David Suchet), found solace with the prominent Eastlakes (Emma Thompson and James Fox), a doctor (Robbie Coltrane), and one Travers Twist (Derek Jacobi).

The story is interesting, the characterizations excellent, the sets and scenery and costumes brilliant, and for a period piece this film is excellent. Audiences these days are simply more mature than to be 'shielded' form the facts of an unconsummated marriage and more emphasis could have been given to the fact the Effie was an early women's rights activist.