Olive Kitteridge Screen 5 articles

Olive Kitteridge

2014

Olive Kitteridge Poster
  • It’s full of adroit observation of coastal small-town tensions in Crosby across a couple of decades. I’m not going to go too much into it here but it is very funny and provides yet more evidence that long form television is currently more creatively satisfying than much of American cinema.

  • The story is almost whispered, embracingly told in a placid yet grandiose tone. HBO's latest effort has in fact a strangely hypnotic quality to it, highly reminiscent of the melancholic ineluctability that the passing of time comes with and the bitter aftertaste it always leaves behind. We feel, almost smell, that uncomfortable and at the same time welcoming intimacy that families and communities can offer.

  • Director Lisa Cholodenko establishes a unified rapport between her actors that often eludes huge star or character-actor-studded vehicles. There's a palpable sense of the history—of slights, and shared secrets—that weighs on these characters, spurring their behavior; the miniseries has an unusually novelistic sense of texture and density, reminiscent, not just of Sprout, but of the work of Richard Russo.

  • [The long flashback at the end of episode two] is the sort of thing that novels have been doing for about a hundred years now, but that movies and TV series have often struggled with (mainly because they’re under tremendous pressure to be linear and to drive the plot forward constantly). For all these achievements and so many others, Olive Kitteridge is hugely satisfying, easily one of the best things I’ve seen on TV this year.

  • The filmmakers – scriptwriter Jane Anderson and director Lisa Choldenko – have done an extraordinary job in finding vivid and ingenious ways to condense Strout’s material, inventing visual correlatives for characters’ inner states.

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