Truly Madly Deeply (1990)

Writer-director Anthony Minghella is best known for rather large-budget literary film adaptations such as "The English Patient," (which garnered the Best Director Oscar) and "The Talented Mr. Ripley." That is all the more reason to check out his first effort behind the camera. Originally produced for BBC television, "Truly Madly Deeply" genuinely demonstrates Minghella's meticulous touch with character relationships.

Juliet Stevenson is Nina, a translator who hasn't quite gotten over the untimely death of her cellist husband Jamie, played by Alan Rickman (who have an exquisitely natural rapport). Nina hears his voice at night -- but then he begins to appear during the day, as well. Soon, Jamie is around all the time, and, while comforting for Nina, her euphoria soon wears off, once she realizes that he is, in fact, truly gone.

Minghella distinguishes this "otherworldly" situation intellectually. While films such as "Ghost" appeal to the masses with its sappy sentimentalism, this film addresses the reality of the situation. From Nina's withdrawal after one of the most gut-wrenching grieving scenes ever at her therapist's office, to Jamie's "reappearance" and the prospect of living with a ghost and the socio-economic relevance of Latin American immigrants in London – the film is far more realistic than any of its kind. Juliet Stevenson's intelligent, vulnerable performance is quite powerful and Alan Rickman's divine rendering of the cello-playing ghost, Jamie are simply unparalleled. Anyone who has lost a love to an untimely death will surely relate to this film.

The addition of Jamie's various new ghost pals is a delightful comic relief and the new love interest character is a useful metaphor that guides her on the journey of letting go of the past and onto the future, which, when you think about it, is actually very profound. It is Minghella's skillful rendering of this material with all of its nuances, that, while fanciful, does not seem contrived, and differentiates it as a one of a kind film of its type.

Fmovies: Having spent some time in the States, I got to watch the brilliant review programme starring Siskel and Ebert (rest in peace, Gene). I've now got a rather dated copy of Ebert's book, and his review of this film matches my opinions perfectly.

Comparisons of this film and Ghost are fatuous, since the similarities are only superficial. Yes, the main protagonists are a couple where the man dies and returns as a ghost, but that's about it. Truly, madly, deeply is wonderfully involving - it has that indefinable something that makes you care about the characters, and pray that the film makers won't cop out and go for a stupid ending.

Fear not, they remain true to the rest of the film. If you only know Alan Rickman from his 'baddie' roles in films like Die Hard and Robin Hood: Prince of Thieves, this will come as a complete surprise. He plays the recently departed Jamie, who must hang around as a ghost until Nina (Juliet Stevenson) finds happiness. The film is slow-paced, but that doesn't matter - it's a wonderful character study.

Of course, it's helped by having Nina played by the utterly wonderful Juliet Stevenson. In the early scenes, when she's grieving for Jamie, her pain is almost palpable. Forget Demi Moore-style teary-eyed, looking ever more beautiful grieving - this is the real thing, floods of tears, almost incoherent, looking like crap, snot-nosed AGONY. The transformation when she realises that Jamie is still around is a joy to watch - as is most of the film, actually.

'Ghost' for adults? In a way, but I think it's comparing apples and oranges. It's a masterful character study, with a great script and a cast on top of their form. Well worth watching.

I'm not sure where to start in a review of the movie, Truly, Madly, Deeply.

Between a magnificent score, the impeccable performances of the two leads and the unspoilt raw emotion, this movie will appeal to anyone. Well, in my mind, it should appeal to anyone.

Juliette Stevenson's performance is unbelievable good. I doubt many could have captured the pain she expressed in the now famous piano/cello scene. Grief at its finest if grief can ever been seen this way.

As for Allan Rickman, the role seems perfect for this actor of limitless talent. The chemistry between he and Stevenson is obvious to most and touching to those who are a little more in tune with such a feeling.

In between many highs and lows of gut wrenching emotion, this movie has lots of light and cheerful moments that truly add some balance to this real life drama.

Love and loss are, in some, the most raw and powerful of emotions. This movie stretches love and loss to its limits. And just when you think you've seen and felt enough, a little more is added in for good measure. After all, love and loss hurt - in differing ways.

Some will relate to this movie. Many will be touched by its expression of devotion and the human challenge of moving on. But, for me, the important message from the movie is that we can all move on and live...its just harder for some.

See this; its magnificent. A definite 10/10...

Truly Madly Deeply fmovies. This one of the most memorable and touching movies about love and loss that I have ever seen. It does fall a little into the trite towards the end with some of the side plots, but the essential message is there from beginning to end. There are people who you love who leave deep and indelible pieces in you, but the essence of living is painful and individual.

The characters are well drawn and the performances by Rickman and Stevenson are nothing short of inspired. Rickman in particular has an ambivalent character- he has the attraction of a unique and fleeting genius, juxtaposed with the temperamental flightiness of a hot house flower. Stevenson's dealings with this paradox of a person and her relationship, forms the driving force behind her quest for meaning.

There are moments of humor and extreme poignancy in this movie. The use of Bach and the poetry of Pablo Neruda is both organic and brilliant.

The trite parts are largely collateral. The movie rather than being "PC" is idiosyncratic with unusual characters.

This film is truly (madly and deeply) one of my top 10 of all time. It shows an honest portrayal of what life must be like for someone whose lover has died. Juliet Stevenson is amazing as a woman still dealing with the death of her husband (Alan Rickman - always great).

I'm not going to get into the plot because this would just be full of spoilers, and I would actually recommend not reading the back of the video/DVD box either, just to be surprised.

One should definitely have on hand a few hankies or a large, full box of tissues. As the other commenter said, this isn't a film where one cries, this is a film where one sobs. I have never seen an actress cry on screen in such a heart-wrenching, convincing way as Juliet Stevenson. And lest you think this is just a weepy, the movie is also full of fun, humorous scenes.

Anthony Minghella, the film director, is a sneaky guy. He sets up "Truly, Madly, Deeply" as a 3 hankie weeper as Juliet Stevenson mourns the death of her young husband, inadvertently asphyxiated by an endo tube after getting "a sore throat". She isolates herself from her friends, gets snappy with well meaning relatives, bawls at the first cords of an overheard cello (hubby played one and she accompanied him on the piano), and winds up on a therapist's couch. Ah, she had such a sweet, caring, satisfying relationship with this talented, intelligent, good looking man. How tragic that his unfulfilled life should be cut so callously short leaving this truly wonderful woman bereft and in despair. So, here we are, the audience, blowing our noses, wiping our eyes, feeling her loss and wondering ourselves how we would handle such a dreadful event. We think of the lovers, spouses, children in our lives. How close and intimate we are with them and how close all of us are to being summoned by the Grim Reaper without notice. Our sympathies are totally with this grieving young woman. Imagine our glee when out of nowhere the decedent appears, back from the beyond, in the flesh. Amazing. We vicariously feel the thrill the wife feels as she leaps into his arms, madly embracing the man she thought she'd lost forever. He's back. All of him... and there's Minghella's rub. It soon becomes evident that the husband has returned, not to haunt her or torment her, but only to be himself and with a totally unexpected agenda. He returns with his good habits (they play the word games they always used to pass the time with, they frolic, they joke and laugh and look deep into each other's eyes) but he also brings along his bad traits, and it's difficult accommodating oneself to his pushy, egotistic behavior, even if he is a ghost. Patrick Sweazy made a back-from-the-dead flick ("Ghost") where he hovered over Demi Moore and made her widowhood bearable. She always knew he was there. And what a wonderful guy he was. Sweetness and light. But TMD is no "Ghost". Menghella says, instead, wait a minute. The one we grieve for was a multi-dimensional person. How soon we forget the bad and glorify the good. After the "honeymoon" is over, the widow in his movie begins to feel a bit crowded. Her husband's always complaining about how cold the flat is, turning up the heat, sneezing from the drafts, shoving up against her in bed with his clammy body. He's learned Spanish but his accent is atrocious. He brings back some "friends" with him, a motley crew, all polite, but given to watching videos ("I Vitelloni", "Hannah and Her Sisters") at all hours of the day and night. The husband rearranges the furniture. Then, she meets a wonderful man in a restaurant. He works with the disabled and does magic tricks. He wants to date her. She's attracted to him. But what does she do with the living dead hubby at home? How can she entertain anyone? Must her life now accommodate his death? Her therapist is noncomittal. The denouement is absolutely spot on.