Preview by: Jack Foley
HAVING cut his teeth on big-budget action vehicles, such as The
Recruit, SWAT and Daredevil,
Colin Farrell would appear to be slowing down a little bit, by
returning to more character-driven material.
Last year’s Irish film, Intermission,
marked a keenly-anticipated return to his homeland, which the
actor leapt at the chance of doing, while the upcoming A Home
At The End of the World, appears to be a far more character-driven
piece than much of his most recent work.
Heck, even Alexander promises
to allow the actor some acting space, despite the many big battle
scenes it promises.
A Home At The End of the World, however, finds Farrell in the
latest film to be adapted from a work by Michael Cunningham, whose
last effort, The Hours, helped to
earn Nicole Kidman a best actress honour at the 2003
The film begins in suburban Cleveland, during the Sixties, and
continues to New York City, in the Eighties, and tells the story
of two best friends, Bobby (Farrell) and Jonathan (Dallas Roberts),
as they form an unusual triangle with Jonathan's roommate, Clare
(Robin Wright Penn).
Eventually, the three move upstate
to stay with Jonathan's mother (Sissy Spacek), who has had her
own relationship problems with Jonathan's father, Ned (Matt Frewer).
The film marks the movie debut of acclaimed Broadway director,
Michael Mayer, whose award-winning work includes the US version
of Thoroughly Modern Millie.
It was previously mooted as a potential Oscar contender for distributor,
Warner Bros, given its source material and the strong ensemble
cast - although its limited July 23 release date in New York and
Los Angeles might seem to suggest otherwise (although a wider
release is planned, later, with possible word of mouth contributing
to a wider audience appeal).
However, the film is fast gaining notoriety for being the one
which denied Farrell his first full-frontal movie scene.
According to a recent report in The Sun newspaper, the scene
had to be chopped because test audiences became transfixed with
the size of his manhood.
Even director, Mayer, admitted that it was distracting, and so
agreed to the censorship, in a move which has reportedly upset
the Irish hellraiser.
The film, which certainly sounds like an interesting next step
in the prolific career progression of the likeable Mr Farrell,
is due for release in the UK later this year.