Rachel, Rachel

Joanne Woodward effectively plays a bored and boring middle-aged school teacher who still lives with her mother at a funeral home in Connecticut. She's on the verge of mental collapse, but hides it well and pretends everything's okay. A guy from her childhood comes to town from the big city (James Olson) and her appetite for change comes to the fore.

This potent drama was Paul Newman's first stab at directing and it's the best cinematic depiction of the inward struggle of flesh and spirit -- id and superego -- I've ever seen. This struggle explains why it's called "Rachel, Rachel." Rachel is experiencing the undercurrent conflict between spiritual and carnal impulses. She's stuck between goody-goody Rachel and libertine Rachel and is therefore in living limbo. Various outside factors encourage this lifeless state: Disturbing childhood memories of living in a funeral home, a mother who essentially views Rachel as her personal servant and a genuine friend who's love is starting to become unhealthy (Estelle Parsons).

The film features a mind-blowing pentecostal church sequence that lasts 10-12 minutes. I can't believe Newman had the cojones to include this scene and it's pulled off expertly with Terry Kiser as the guest preacher who "speaks in tongues," which is what Calla (Parsons) tells Rachel when it's reveal that he's the speaker. Parsons is fabulous here, by the way.

Due to the subject matter and the fact that this is a drama there are some boring stretches, so you have to be in the mood for a serious drama. Nevertheless, the film deserves credit for having the gonads to show real life and refusing to be politically correct -- an amazing drama.

In case you didn't know, Newman and Woodward were husband & wife for 50 years, up to his death in 2008.

The film runs 101 minutes and was shot in Connecticut.

GRADE: A-

Based on the novel "A Jest of God" by Canadian novelist Margaret Laurence, "Rachel, Rachel" is the story of Rachel Cameron (beautifully played by Joanne Woodward), a middle-aged schoolteacher who tries to come out of her shell before it's too late. Her father, recently deceased, was the town's funeral director. She still lives at home with her demanding mother (Kate Harrington). Rachel's friend is Calla Mackie (Estelle Parsons), an equally lonely, repressed fellow teacher who has some issues in her life as well. Rachel has a chance on love when a man (James Olson) returns to the small town in Connecticut from NYC. Rachel has some difficulty handling emotions she's never felt before. She's still haunted by her past and has difficulty coping with reality and fantasy. As Rachel mentioned at the beginning of the film, she's middle-aged, she's lived half of her life, what can she do now?

This was Paul Newman's debut as director. He did a fine job directing his wife Joanne Woodward. He captured the loneliness of this woman without overdoing it as well as the atmosphere of living in a small town that is alternately comfortable and suffocating.

I was also impressed with the supporting cast. Including Estelle Parsons, Kate Harrington and James Olson, Donald Moffat as Rachel's very scary father and two very charismatic performances by Geraldine Fitzgerald as the local reverend and Terry Kiser as a traveling faith healer.

Although it received four Oscar nominations, "Rachel, Rachel" seems to have fallen off the radar screen. Some of the movies that were released in 1968 included "The Lion in Winter", "Funny Girl", "2001: A Space Odyssey", "Romeo and Juliet" and "Planet of the Apes".

"Rachel, Rachel", a mature, well-acted drama, certainly should be considered one of the more under-appreciated films of the late 1960s.

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.

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.