Rachel, Rachel

In a variation on her "Long Hot Summer" role, Woodward plays a sexually repressed schoolteacher in a small New England town who realizes that life is passing her by… She is thirty-five, a virgin, and dominated by her mother… During the summer, she has an affair with an old schoolmate… It proves disappointing, but she now knows that she can be loving, and determines to leave town and do something about her life—a move that seems only tentatively hopeful…

Woodward gives her finest performance as the confused, frequently beaten but ultimately indestructible woman… She has an extraordinary ability to look natural or simple and still reveal an inner radiance…

There are many touching moments: her timidness at the religious meeting; her awkward experiences with men; her late-night discussion with a likable male friend; and, most unforgettable, her face causing change from joyous expectancy to merely suppressed hysteria to a painful outburst of tears when she discovers that, contrary to her hopes, she is not pregnant...

Newman shows a natural cinematic sense in his perceptive depictions of small town life, the frenzied activity of a revival meeting and the anxieties of a first sexual experience; and in his clever, rarely impressive juxtaposition of Rachel's present with her fantasies and childhood memories… He gets excellent performances from Estelle Parsons as another lonely teacher and James Olson as the cynical big-city man who lets Rachel down…

Both Newman and Woodward won Golden Globe Awards… Woodward won the coveted New York Film Critics' Award, and was nominated for an Oscar

Joanne Woodward delivers a warm, sympathetic performance as a 30-something spinster small-town schoolteacher living with her mom (Kate Harrington) in rooms over the local funeral parlor. Said business used to be operated by Rachels' recently deceased father (Donald Moffat). Rachel despairs over the idea of her life possibly being at least half-over now, and yearns for something more. Possibly she may get a chance for love with a charming big-city teacher named Nick (James Olson).

Woodwards' husband Paul Newman made his creditable directing debut with this interesting choice of material (an adaptation by Stewart Stern of a novel by Margaret Laurence). It's first and foremost an excellent showcase for his wife, who hits all the right notes. Rachel is the kind of character who honestly earns rooting interest; the viewer does ultimately want her to be happy. She does have issues, of course, stemming from her childhood; her best friend Calla (Estelle Parsons) has her own issues as well.

The script truly allows us to get inside this lead characters' head by allowing us to hear her thoughts. We come to see that "reality" in this story is not always to be taken for granted, with some critical revelations along the way that illustrate just how strongly Rachel wants some change in her life. There are some true standout moments, such as Rachels' reaction to a memorable church service, presided over by a reverend (special guest star Geraldine Fitzgerald) and young preacher (Terry Kiser).

Marking the first noticeable movie roles for top character actors Moffat and Kiser, "Rachel, Rachel" does truly benefit from this impressive cast, with Woodward as the glue to hold everything together. It's extremely well shot by Gayne Rescher at some picturesque locations in Connecticut, and nicely scored by Jerome Moross.

This compassionate character study scored Oscar nominations, for Woodward, Parsons, Stern, and for best picture. It's a must if you're a fan of the cast and director.

Paul and Joannes' daughter Nell plays Rachel as a child.

Seven out of 10.

In the turbulent cultural and political year of 1968, movies hadn't quite yet figured out how they wanted to address current events, or indeed whether they wanted to address them at all. The year's Oscar winner for Best Picture was "Oliver!," an entertaining but utterly irrelevant big-budget musical; "Funny Girl," another stage-to-screen musical that hasn't aged at all well, was also among the nominees. "The Lion in Winter" found Peter O'Toole and Katharine Hepburn bickering in period costumes, while "Romeo and Juliet" gave Shakespeare a jolt of sexiness for the younger generation. Movies that actually felt like they had their finger on the uneasy pulse of the changing times, like "2001: A Space Odyssey," "Rosemary's Baby," "Faces," and "The Battle of Algiers," were nominated in lesser categories but none were up for the big prize. That fifth slot went to "Rachel, Rachel," in which Paul Newman directed his wife, Joanne Woodward, to a Best Actress nomination.

"Rachel, Rachel" certainly did not deserve a place at the Oscar podium above those titles just mentioned that weren't even nominated, but it does have much to recommend it, and the themes it's about speak more to a modern-day audience than those of many of its contemporaries, because they're both universal and timeless. Woodward plays a woman in her 30s, living with her annoying and needy mother and watching her life slowly drip away from her day by day. It's about that moment -- and I have to believe anyone over a certain age has experienced it at least to some degree -- where one realizes that he/she isn't so much living a life as dying a slow and inevitable death. What one does with the time in between suddenly becomes urgent in a way it hasn't ever felt before, and one understands how easy it would be to do nothing and let that slow death gradually come. Woodward's character, brought up in a mortuary and morbidly obsessed with death, doesn't exactly figure out what to do with the time left to her, but she does figure out that she needs to try something different, which is perhaps the best any of us can hope for. Woodward gives a beautiful and nuanced performance as a shy turtle coming out of her shell one painful inch at a time. The movie is melancholy and sad, but it's also hopeful in its conclusion that it's never too late to at least make a grab for, if not happiness, then at least contentment.

In addition to its nominations for Best Picture and Best Actress, the film also received nominations for Best Supporting Actress (Estelle Parsons, as Rachel's closet lesbian friend), and Best Adapted Screenplay (Stewart Stern). Newman himself was not nominated for Best Director, which doesn't really surprise me. The Academy has always shown a penchant for acknowledging the showy over the subtle when it comes to that particular category.

Grade: A

This film is one my all time favorites. It's a strong story about a school teacher who lives with her cranky, dominating mother and who hasn't had (or used!) the chance to take responsibility for her own life. Rachel is a woman of many fears; fears that may seem insignificant and vain from an outsiders point of view but that are everything to her, that actually define the framework for her life. In a little town of conservative values it is hard to take a turn and find the courage to become something you weren't before. Joanne Woodward gives a masterful performance and is the heart and soul of this film. She does the most incredible things with just her eyes and her face, and her voice. She makes Rachel so real it hurts to watch. That's acting. Estelle Parsons as Calla is fantastic, too. This is a beautiful, sensitive movie, highly underrated and way too unknown to most people. For me, it's a classic. Go find it and see it!

Both the camera and the man behind it were obviously in love with the actress on screen, and, that actress, Joanne Woodward, was arguably never better than she was in "Rachel, Rachel," husband-Paul-Newman's first directing effort. The low-key story involves a woman who reaches the middle of her life and realizes that she has yet to start living. Trapped in a small apartment above a funeral parlor with her whining possessive mother, Rachel is a schoolteacher with daydreams of having a life and children of her own.

Rachel's emotions are written on Woodward's face in a way few actresses have ever conveyed feeling. Words are superfluous, because the actress's subtle shifts of expression reveal the woman's raw vulnerability and, eventually, her sexual and emotional awakening. A course in film acting could be taught with this film as the primer. Although Kate Harrington, James Olson, and Estelle Parsons provide able support, the film is Woodward's showcase, and Newman's sturdy direction does not detract from his star. The shifts between Rachel's present and her memories and dreams are seamless, clear, and illuminating rather than distracting.

The film requires patience, but that does not imply boring, but rather leisurely paced, much like life in a small town that lies off the main roads. Getting to know another person requires time, and Rachel is worth knowing. "Rachel, Rachel" is a not to be missed minor masterwork with a performance that will haunt and linger in memory indefinitely. Newman never surpassed his directing here, and few actresses have surpassed Woodward's achievement either.