There aren't any particular surprises in The Magdalene Sisters once the three heroines are locked away. Most sequences follow the same pattern, where the lank-haired, poorly fed, and half-clothed girls aspire for freedom, love, or fair treatment and are met with beatings and brutality. Lest there be any doubt of Sister Bridget's wicked witch nastiness, she's often seen counting her money and turning a blind eye to the random injustices within her makeshift girl's prison. Often compared with Louise Fletcher's Nurse Ratched, a more careful viewing of One Flew Over the Cuckoo's Nest will reveal subtleties to the character that don't exist in the one-note tyrant, Sister Bridget.
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Despite the remarkable assemblage of talent, Cacoyannis' Cherry Orchard feels self-aware of adapting a renowned classic from stage to screen. The cinematography is handsome and stately, but more appropriate to the colorful orchards and vast family estate, the 1900 costumes, the theatrical entrances and exits, than to the intimacy of Chekhov's vivid characters. (It almost makes one long for the hand-held documentary treatment of Louis Malle's seminal Vanya on 42nd Street.) The stylistic choices here take a while to get used to, especially during a drawn-out prologue, absent in the original text, as Madame Lyubov and her buoyant teenage daughter Anna (Tushka Bergen) make elaborate preparations to return to their Russian estate after a self-imposed exile. Some may be exhausted by this Masterpiece Theater treatment (lingering over every piece of luggage) before Chekhov's social entanglements kick in -- which happens shortly after the dozen major characters have assembled at their estate.
Continue reading: The Cherry Orchard Review
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