Some very appalling things happen later on, breaking some serious taboos, and Kalin does not shy away from them. The trouble, ultimately, is in the facts of the story. Aronson’s book, is fluid and occasionally compelling.
Rodman’s adaptation of Natalie Robins and Steven M.L.
The direction by Tom Kalin (“Swoon”), working from Howard A. Barbara spends time with Sam (Hugh Dancy), a gay gigolo whose sexuality - like seemingly everyone else’s in the film - is not exactly fixed in one place on the spectrum.įor a while the film is passable as a glossy story of rich people’s tedious, melodramatic problems. Eventually Tony is grown up (played by Eddie Redmayne) and gay, though he dallies with a young woman named Blanca (Elena Anaya), whom his father eventually runs off with. The Baekelands are a truly effed-up family, and it only increases with time. Tony’s parents return in the morning to find this strange kid asleep in Tony’s bed while Tony luxuriates in the bathtub. One night Brooks throws a tantrum and leaves, Barbara follows him to a hotel, and Tony is left alone - so he invites a friend his age over to spend the night. Tony and Barbara’s relationship is unsettlingly close, not entirely inappropriate yet but certainly on a road bound for it.
This would probably be the case even if Dad weren’t cold and frequently absent, but it doesn’t help. The Baekelands’ son, Tony (Barney Clark), is a precocious 12-year-old whose best friend is his mother. Barbara turns heads when they go out, the very picture of a refined woman however, her filthy mouth and libertine ways (she and Brooks both cheat on each other regularly) belie any outward appearances of class. We begin in 1946, when Brooks Baekeland (Stephen Dillane) and his wife Barbara (Julianne Moore) have just had a baby, an event which has failed to help their frosty, tempestuous relationship. If you do not remember the 1972 incident involving the Baekeland family - the obscenely wealthy Europe-trotting socialites whose money came from the invention of Bakelite plastic - I will not spoil too much of it for you. It is very pretty, and it feigns elegance well, but it is tawdry and shallow. There is nothing very savage or very graceful about “Savage Grace,” a lurid, faux-sophisticated telling of a true story about lurid, faux-sophisticated millionaires.
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