Az órák

A női elme egzisztenciális feltárása a bizonytalanságban, a kétségekben és az elégedetlenségben. Kísérteties téma, amelyet egy férfi jobban megfilmesít, mint egy nő valaha is tudna. Nem minden pillanatban tudtam azonosulni a szenvedő szereplőkkel, de a felvételek kilencven százalékában még magamra is találtam. Stephen Daldry rendezőnek sikerült a csoda. És a film többszöri megtekintése után nálam valószínűleg 5*-ot is eléri. Elsőre lehetetlen volt mindent felfogni. (2003.08.02)

If it weren't for Stephen Glass's music in The Hours, they would be at least half as good. But even if so, we are left with an incredible acting concert by three actresses and one actor. It is a quite depressing experience to see all the heroines sail through a very sad day, incomparable and sometimes completely the same. Above all, absolute concentration is required, otherwise the motivations of the heroines might seem ridiculous and their reactions hysterical to many people. And also, a sign prohibiting cynics should not be missing from the cover. At first, I kept some reservation, big or small, but the gradual crescendo is breathtaking and leaves no room for doubt. With the twist or the devastating final monologue, a very specific and oppressive impression remains in the heart. With distance, however, I sober up a bit and adjust my rating slightly lower. The crescendo, despite its first-class ending, stutters slightly in some places, and as a whole, the film is perhaps a little elusive. Nevertheless, significantly positive impressions and let me not forget to mention my favorite from the fateful trio - Nicole Kidman. (2006.02.04)

An unquestionably effective film with great direction and superb performances (Julianne Moore!), but I was unable to relate to the characters. The women’s worldviews are portrayed so perfectly that I could not understand them. In short, my ideas simply don’t agree with this film. It took about two years and then she told him: Hey, I’m lesbian. Wow. (2011.02.12)

I wouldn’t want to see this dubbed, the performances are fantastic. Nicole Kidman with her fake nose and wig is really unrecognizable and she is great as an introverted, depressed woman. But Julianne Moore is even better, she should have got the Oscar, it is “her” film. Her scene in the hotel is such an emotional barrage that it would be enough for one film on its own. But Daldry doesn't spare the audience and the film is emotionally gripping from start to finish. In short, The Hours is a hundred minutes of crackling emotion, perfectly enhanced by Phillip Glass's magnificent score. It's not very often that I get chills when I watch a movie these days, but it happened a lot with this film. I am really happy that films like this are still being made. It was a massive surprise, I didn’t expect much and it was so good! (2003.07.01)

The Hours is a classic film about which you can’t form a clear opinion during a single watch. Not only because the film is divided in a postmodern way into three time-spaces, connected both motivically and through characters. From this perspective, this is one of those simpler jigsaw puzzles, the principle of which you can unveil very easily, because Stephen Daldry's goal is not to confuse the viewer... In the first space-time, Virginia Woolf experiences a difficult struggle with illness and misunderstanding (phenomenal performance by Nicole Kidman!). Her novel Mrs Dalloway grows out of feelings of misunderstanding, loneliness and uprooting. This book was read in the 1950s by Laura Brown (the fragile and closed-off Julianne Moore), a mother living in the illusion of a happy family but struggling inside with similar feelings of misunderstanding as Virginia. In 2001, Clarissa Vaughan (suggestively played by Meryl Streep) gets the name of the heroine of the novel half jokingly... it's probably not worth emphasizing that she too struggles with life disillusionment, misfortune and the fateful man she loves, who threw her away long ago... All of the protagonists are connected by Woolf's novel, a similar emotional state and lesbian tendencies. All of this is intertwined in a difficult complex of relationships and emotions, and they go through a painful catharsis during a single "film" day. On one fateful day, the three levels of the story intertwine into a relatively coherent film ensemble, which at first lacks gradation and drowns in big words (the intellectual patheticity still holds on to it at a tolerable level), but at crucial moments it always has a great emotional charge and the gift to grab on to the viewer and make us think. A bit of an obstacle for me is the gender filter in seeing men as a) submissive and effeminate intellectuals (Leonard Woolf), b) wrecked and aimlessly wandering artists (Richard Brown), c) dull and inattentive domestic animals (Richie Brown). Despite the partial antipathies, however, I admit that The Hours has great inner strength and considerable stylistic maturity. Thanks to which, and also thanks to the sensitive directing and excellent music of Philip Glass, they amount to a great spectator experience... (2004.09.13)