Minnie Driver nipple alert! Sometimes there's nothing more painful than a forbidden 19th-century romance, filled with chest beating and cries of "This is madness!!" Nonethelss, Sandra Goldbacher ushes in yet another take on The Piano, only without much of the real, underlying emotion. Set in the lonely Scotland manse of a photographic pioneer (Wilkinson), Driver arrives on the scene from London to care for the family's child. Hiding the fact that she's a Jew, she quickly falls for her charge's father. Hair-tearing ensues, thanks to Driver's rebellious influence on the family. A really dull ending disappoints, but the film on a whole isn't unpalatable if you're looking for something a little more contemplative (read: slow).
It should have won an award for worst accent ever, as "star" Michelle Williams' faux-Britspeak fades in and out and makes the movie borderline unbearable. The movie itself follows several years in the lives of two London friends (Williams and the far more interesting Anna Friel), who engage in all manner of self-destructive behavior. The film looks a lot more fun for the two girls than it is for us to watch. Very corny and often sappy to boot.