Shadowlands (1993) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Watch Now From $2.99 (SD) on Amazon Video C.S. Lewis , a world-renowned Christian theologian, writer and professor, leads a passionless life until he meets a spirited poet from the U.S. Director: a list of 25 titles created 08 Jul 2014 a list of 49 titles created 12 Oct 2015 a list of 32 titles created 11 Nov 2015 a list of 28 titles created 1 month ago a list of 21 titles created 1 month ago Search for " Shadowlands " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Another 7 wins & 11 nominations.

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An American fan, Joy Gresham, arrives to meet him for tea in Oxford. It is the beginning of a love affair. Tragically, Joy becomes terminally ill and their lives become complicated. Written by Matthew Stanfield <mattst@cogs.susx.ac.uk> See All (69) » Taglines: He distanced himself from love as he distanced himself from pain, until one woman got close enough to open his heart to the world. See more » Genres: Rated PG for thematic elements | See all certifications » Parents Guide: 14 January 1994 (USA) See more » Also Known As: Tierra de sombras See more » Filming Locations: Did You Know? Trivia In her real life, Joy actually had two sons: Douglas Gresham (who was depicted in this movie) and David Gresham (who was not.) David was born in 1944; Douglas in 1945. After their mother's death, David and Douglas continued to live with their stepfather, C. S. Lewis.

In contrast to his mother, stepfather, and younger brother, David was less interested in converting to Christianity, and while still a child living with Lewis, he started to return to Judaism (the religion he had been born into). According to Edwin Brown's book In Pursuit of C. S. Lewis, Lewis was very supportive of David's interest in Judaism, including finding a kosher butcher to supply his meat. See more » Goofs Joy actually broke her leg at Jack's home, The Kilns. See more » Quotes Once in Royal David's City (uncredited) See more » Frequently Asked Questions (United States) – See all my reviews This film is Richard Attenborough's best directed film. Unlike Gandhi, it had no ambitions of being a grand scale historical epic. It actually played to Attenborough's strengths as a director, which are story and character development. Of course some fantastic performances from some great actors helped him out immensely. Debra Winger was nominated for an Oscar, and she was great, but we already saw her play the same disease in Terms of Endearment. Anthony Hopkins should have received an Oscar nomination for his incredible multi-layered turn as C. S. Lewis.

His lifelong bachelor that falls in love and then questions his own theological beliefs when he grieves is the polar opposite of his most famous role, Hannibal Lechter, and yet he is just as convincing. With Hopkins in the lead, and Attenborough's attention to detail, this movie is one of the most overlooked films on every top 100 list, or in the case of this site, top 250 list. If you like movies that have stories, characters, and atmosphere, this is for you. 8 of 10. 14 of 14 people found this review helpful. Was this review helpful to you? Yes View All Critic Reviews (28) Audience Reviews for Shadowlands Hopkins gives us a wonderful portrait of a believer who is forced to confront his faith when a partner becomes terminally ill. John Ballantine Super Reviewer If Alfred Hitchcock is the archetypal auteur, and Robert Altman is the ultimate actors' director, then Richard Attenborough is the consummate luvvie. Attenborough's career is that of someone so impassioned by acting and filmmaking that it leaches into every aspect of his craft, both in front of and behind the camera.

Sometimes, as with Chaplin or moments in A Bridge Too Far, this passion becomes overbearing and compromises the integrity of what we are seeing. But sometimes, as with Shadowlands, it may be the thing which makes all the difference. Taken at face value, Shadowlands could almost have been a Woody Allen film: its central relationship is a late-blooming romance between an elderly, shy, somewhat neurotic man and an inquisitive, playful younger woman. It is also a textbook weepy, being a story which is rooted in tragedy and which will have you in tears by the end. But while it doesn't deviate massively from either mould, there is much about Shadowlands which is intriguing and stimulating. For all the times when he has over-egged things, Attenborough does know how to assemble a top-notch cast, who sit in their parts like they were the only people who could possibly play them. Anthony Hopkins has a head start in this due to his experiences with Merchant Ivory, but even so he inhabits C. S. Lewis like no-one before or since. His accent may still be a Port Talbot brogue rather than a clipped Cambridge twang, and there are moments in which he is rather theatrical.

But he remains utterly convincing and completely endearing to an audience. The theatrical moments of the film are not especially problematic either, for two reasons. Firstly, and perhaps obviously, it is adapted by William Nicholson from his original play. Because it is a direct adaptation by the same author, you can readily understand that the tone would be broadly similar, so that all the little flourishes which would occur on stage are captured and compressed on screen. But secondly, this is not problematic because the film does not feel stagey. Unlike Plenty, which tried to disguise its theatrical roots through clunky camera tricks, Shadowlands feels broadly cinematic and therefore when the moments of theatricality come, they do not disrupt proceedings too greatly. Be that as it may, the film is guilty of one cardinal sin of stage-to-screen adaptations - namely that there are too many locations. There is a lot of travelogue footage in Shadowlands with the camera following our characters as tiny dots on a variety of landscapes, whether it's the hills of Herefordshire or the resplendent halls of Cambridge University. The film jumps from location to location a good deal more than it needs to, in an attempt to seem more epic, ambitious and by contrived extension cinematic.

It doesn't quite fall into the trap of assuming that bigger scale equals better story, but on a number of occasions it comes perilously close. The comparison between Shadowlands and Plenty goes beyond the technical accomplishments of the former. Both films approach the issues of routine and domesticity, and both feature women who don't fit into the very orderly, male-dominated world which is put before them. But what makes Shadowlands the more compelling is the dynamic of the central relationship, which in both films determines our ultimate response to the story. In Plenty, Meryl Streep's character is essentially passive-aggressive: she wants to change the world but not at the expense of moaning about how difficult her life is. This makes it more difficult for us to identify with her consistently, and we end up feeling sorry for Charles Dance having to put up with her. In the world of Susan Traherne, domesticity is a menace from which nothing productive or meaningful can emerge, and once a person has entered it their life is effectively worthless. Shadowlands is a lot more subtle and welcoming, with the settled nature of its characters serving as a springboard from which pure emotion can emerge.

The need for Lewis and Joy Gresham to challenge each other, both personally and intellectually, gives us both a compelling drama and hope that we have not yet past our respective sell-by dates. The great success of Shadowlands is its balance of the personal and the intellectual. The film raises a great number of fascinating theological questions to do with pain, suffering and the loss of childlike innocence, but it does not approach such questions with all the esoteric dryness of a Bible commentary. There is a rich vein of substance in the film which can be absorbed and will result in deep discussions afterwards. But the film can also be enjoyed purely as a romance, because its ideas are conveyed through characters we can relate to and conversations we can recognise. Much of the film is a debate about the role of suffering in human life - "the purpose of pain", as Lewis would put it. The film isn't afraid to confront this old chestnut of Christianity head-on, questioning the role of God in the events which transpire, both good and bad. Lewis is not immune from theological doubt, and is troubled so deeply by the loss of Joy that he erupts uncharacteristically when his academic friends try to comfort him.

The early part of the film sees Lewis 'talking the talk' about pain and suffering, delivering lectures with an expression of sanguine satisfaction. But as the action moves on it becomes a film about 'walking the walk', putting Lewis' theories into practice and showing to what extent they bring comfort. What makes Shadowlands so compelling as a religious or theological film is that there are no easy answers to any of the questions it raises. Joy criticises Lewis for his style of inquiry, quipping that "every time you ask a question, you know the answer already". The film is quite the opposite, neither giving a watertight theological explanation nor settling for a sentimental cop-out. We have to come to our own conclusions about where (if anywhere) morality lies, and whether Lewis was right to believe that God could still be at work in the midst of such tragedy. His passing words, that the pain of losing Joy is part of the deal of having a full life, leaves us hanging in the best possible way as we question our own attitude towards the Almighty. If anything, though, the central theme of Shadowlands is not whether pain is a justifiable part of life.

It is mainly a film about openness, about baring one's soul and constantly questioning one's opinion of how the universe operates. The Narnia books are all about discovering and exploring fantastical new worlds, and yet Lewis himself a reluctant adventurer. His lecture on pain and suffering, which characterises God as a sculptor with a chisel, is repeated several times to show how he is set in his ways, whether by choice or unconsciously. The arrival of Joy is the beginning of a long period of questioning, which results both in deep sorrow and in levels of joy which he had never experienced before. As he says to Joy as she lies dying, "you've made me so happy... I didn't know I could be so happy." Shadowlands is a very moving film and may be Attenborough's best work, being tauter than Gandhi and more disciplined than Chaplin. Hopkins and Debra Winger anchor the film with convincing, understated performances, supported ably by Edward Hardwicke as Warney and Joseph Mazzello as Douglas. It isn't without its little problems, and it is too conventional in places, but as a piece it holds together and you find yourself getting swept up in the story.

More than anything, this is a film made by someone with general affection for both the story and the characters, and it is made so well that a great deal of that affection is reflected back. Daniel Mumby Super Reviewer Another beautiful true story of a famous personage -- the neat thing that the son actually helped on this movie! Tom Ericksen Shadowlands Quotes Jack Lewis: I pray because I can't help myself. I pray because I'm helpless. I pray because the need flows out of me all the time, waking and sleeping. It doesn't change God. It changes me. Jack Lewis: Why love if losing hurt so much. I have no answers anymore, only the life I have lived. Twice in that life I?ve been given the choice. As a boy and as a man. The boy choose safety, the man chooses suffering.The pain now is part of the happiness then. That?s the deal. Jack Lewis: Why love if losing hurt so much. I have no answers anymore, only the life I have lived. Twice in that life I have been given the choice. As a boy and as a man. The boy choose safety, the man chooses suffering.The pain now is part of the happiness then.

That's the deal. ‎Shadowlands (1993) directed by Richard Attenborough • Reviews, film + cast • Letterboxd 1 Renowned children’s author C.S. Lewis (Anthony Hopkins), a solemn, middle-aged university professor, becomes romantically entwined with a lively, divorced American poet (Debra Winger) 17 years his junior in this story about the couple’s ill-fated love affair. The relationship begins as a platonic friendship, but Lewis realizes his love for the woman when tragedy puts its nose around the corner. Director Richard Attenborough does another great job - it was his last great job. The films that came after Shadowlands were mediocre (Grey Owl) to nice (In Love and War, Closing the Ring) so I prefere to think Shadowlands was his swan song as a director. Debra Winger and Anthony Hopkins are just fantastic in this film. Hopkins is reunited with the director who gave him so much in A Bride Too Far and he knows it. It's unbelievable Winger isn't asked for the grand characters anymore.

Review by fourstarfilmfan ★★★★½ Starring Anthony Hopkins and Debra Winger with direction by Richard Attenbourough, this film chronicles the romance of famed Christian professor and writer, C.S. “Jack” Lewis with the American poet Joy Gresham. As with any unexplainable suffering Lewis is tested in his faith and the meaning of human suffering has new meaning to him. Although this film is not so much focused on C.S. Lewis as a Christian theologian or apologist, I think Anthony Hopkins does a wonderful job of portraying him as a kindly and gentle man of faith. He struggles as we all do, but he found something wonderful in his love for Joy that changed him. Debra Winger must also be commended because she played well off of Hopkins and even though I have no picture of the real Gresham, Winger seemed to embody her well. As Jack says we live in the “Shadowlands,” but amidst the pain and suffering love seems to shine through even brighter. Review by EvanstonDad ★★★½ A very solid biopic about writer C.S. Lewis and his relationship with a spunky American.

This is one of two great performances Anthony Hopkins gave in 1993, the other being "The Remains of the Day." Debra Winger had a bit of a career comeback playing said spunky American, and received an Academy Award nomination for Best Actress for this role. Does Winger have a clause in her contract that says whenever she plays a character who dies slowly of cancer she MUST be nominated for an Oscar? Richard Attenborough directed this in a very British way, so it's a bit too slow and tasteful. But it's well written and acted and should satisfy those who are drawn to movies with a literary bent.

Grade: B+ Romance Films ROMANCE FILMS Part 1 | Part 2 | Part 3 | Part 4 | Examples Romantic Pairings in the 90s: the oft-repeated response "Ditto" of Sam Wheat (Patrick Swayze) to girlfriend Molly Jensen (Demi Moore), when she told him, "I really love you," and the passionate pottery wheel scene in which spirit-ghost Sam revealed himself to grieving Molly in Ghost (1990) the association of Hollywood hooker Julia Roberts and corporate businessman/client Richard Gere in Pretty Woman (1990) the severely-punished, fateful love affair between Kevin Costner and Anthony Quinn's wife (Madeleine Stowe) in Revenge (1990) the attraction between widowed Jewish lawyer (James Spader) and older Missouri waitress and barfly (Susan Sarandon) in the sexy White Palace (1990) the wild and sensational coupling of Elvis-worshipping, rebellious convicted murderer Sailor Ripley (Nicolas Cage) and sexy lady Lula Pace Fortune (Laura Dern) in David Lynch's road film Wild at Heart (1990) the tensions that arose from an inter-racial romance between a married architect

 (Wesley Snipes) and an Italian-American office worker (Annabella Sciorra) in Spike Lee's urban romance Jungle Fever (1991) the protective wooing of repressed ex-Secret Service agent (Kevin Costner) for client/pop star Whitney Houston (in her film debut) in The Bodyguard (1992) the pledged love between frontiersman Hawkeye (Daniel Day-Lewis) and the beautiful British officer's daughter Cora (Madeleine Stowe) in the lush film from James Fenimore Cooper's novel The Last of the Mohicans (1992); with the famous promise: "You stay alive, no matter what occurs!

I will find you! No matter how long it takes, no matter how far, I will find you" the offbeat dance/romance and the Cinderella blossoming of young love between love-struck novice dancer and plain-Jane wallflower (Tara Morice) and her daring dance partner (Paul Mercurio) in Australian director Baz Luhrmann's debut film, Strictly Ballroom (1992) the sexually-liberating love between a 19th century imported mute bride (Best Actress-winning Holly Hunter) and a sensual, blackmailing overseer (Harvey Keitel) in New Zealand director Jane Campion's romantic drama The Piano (1993) the formal relationship between repressed English butler Mr. Stevens (Anthony Hopkins) and younger housekeeper Sally (Emma Thompson) in The Remains of the Day (1993) the real-life joyous love affair and marriage between Narnia books British author C.S.

Lewis (Anthony Hopkins) and divorced American fan/poet Joy Gresham (Debra Winger) - until her tragic terminal illness that was both uplifting and heartbreaking in Shadowlands (1993) the bittersweet romance between co-workers: a busboy (Christian Slater) and a waitress (Marisa Tomei) in Untamed Heart (1993) the unfolding, 14-hour, conversational romance between two strangers who were a perfectly-matched couple: American Jesse (Ethan Hawke) and young Frenchgirl Celine (Julie Delpy), who met on the Eurail and then explored Vienna together before saying goodbye at a train station - in one of the most romantic of films, director Richard Linklater's Before Sunrise (1995); their story was continued (nine years later) in the witty Before Sunset (2004) with the same cast of two, now older and wiser, who reunited in Paris on a sunny afternoon - in real-time - with Jesse having only a few hours before a flight home to New York as they begin talking again and sharing thoughts about Life's Big Questions, with the film ending with Nina Simone singing Just in Time; the two lovers reprised their roles by

 appearing in a segment of Waking Life (2001) the brave and bold love of one's country and one woman (Catherine McCormack) by a Scottish patriot (Mel Gibson) in the Best Picture-winning Braveheart (1995) the four-day summer affair between Clint Eastwood as a bridge photographer and a repressed Iowa farmwife (Meryl Streep) in The Bridges of Madison County (1995), adapted from Robert James Waller's best selling short story the platonic, long-term love relationship between English painter Dora Carrington (Emma Thompson) and eccentric homosexual writer Lytton Strachey (Jonathan Pryce) in Carrington (1995) the assistive concern of counselor/nun Sister Helen Prejean (Susan Sarandon) for a convicted Death Row Louisiana killer (Sean Penn) in director Tim Robbins' Dead Man Walking (1995) the discovery of true love by Sandra Bullock with the brother of one's supposed, comatose fiancee in the light-hearted While You Were Sleeping (1995) the flashbacked, remembered WWII tragic, mismatched love affair of a mysterious, disfigured plane crash survivor ("The English Patient" - Ralph Fiennes),

 cared for by Canadian nurse Juliette Binoche in an Italian monastery, with a lovely Englishwoman (Kristin Scott Thomas) in The English Patient (1996), director Anthony Minghella's Oscar-winning romantic tearjerker; includes the famous line: "Swoon, I'll catch you." the restorative relationship between previously hateful and annoying romance novelist Jack Nicholson and waitress Helen Hunt in As Good As It Gets (1997); "You make me want to be a better man" the grand, star-crossed love story between a steerage passenger (Leonard DiCaprio) and a high-class debutante Rose (Kate Winslet and Gloria Stuart) in director James Cameron's sweeping epic Titanic (1997) the unlikely pairing of charming bank robber George Clooney and federal agent Jennifer Lopez - in a cramped car trunk during a getaway and in a dreamy hotel love sequence - in Steven Soderbergh's Out of Sight (1998) the quirky, mismatched romance between 15 year-old Rushmore Academy student Max (Jason Schwartzman) and his teacher Miss Cross (Olivia Williams) in the very original Rushmore (1998) the romantic feelings of Jessie the Cowgirl when entr

anced by the dashing Buzz Lightyear: "Well, aren't you the sweetest space toy I ever met!" in the digitally-animated Toy Story 2 (1999) the twelve-year relationship of childhood friends and high-school sweethearts Monica (Sanaa Lathan) and Quincy (Omar Epps) during their entire basketball careers, in Love and Basketball (2000), Gina Prince-Bythewood's first feature film - a character study and sports romance the independent hit film My Big Fat Greek Wedding (2002) Cameron Crowe's Recent Works: John Cusack romanced Ione Skye outside her window at dusk, by holding a boom box aloft playing Peter Gabriel's In Your Eyes in rock reporter/director Cameron Crowe's debut film Say Anything...

(1989). He also confessed: "I gave her my heart and she gave me a pen." In subsequent years, Crowe would also direct the insightful Singles (1992) about Seattle twenty-somethings searching for romance (in the film, Campbell Scott jokingly admitted to Kyra Sedgwick: "I was just nowhere near your neighborhood"). Another Crowe film was the slick comedy-romance Jerry Maguire (1996), that popularized the phrase delivered to gushing sports agent Tom Cruise by secretary/single mother Renee Zellweger: "You had me at hello." The film also popularized the phrase: "You complete me." And Almost Famous (2000), a coming-of-age romance/drama, followed a teenaged rock journalist as he pursued a rock-band story and its prime groupie Penny Lane (Kate Hudson).

Jane Austen Film Adaptations: Many romance-laced period films have been adaptations of the dialogue-rich, socially-observant, and satirical novels by 19th century novelist Jane Austen (1775-1817), including these appealing films and their over two dozen mini-series versions, BBC films and TV movies - not to mention stage productions. These romantic, often sexually-charged film adaptations reached a zenith in the mid-90s: Pride and Prejudice (1940) - published in 1813 by Jane Austen; it was a classic MGM box-office success - a story about five unmarried sisters in the Bennet household in Georgian England; the romantic comedy of manners starred Greer Garson as Elizabeth Bennet and Laurence Olivier as Mr.

Darcy; it was also a 5-part BBC-TV adaptation in 1980 (telecast in the US on PBS' Masterpiece Theatre in the fall of 1980) and a five hour BBC mini-series in 1995 with Colin Firth (first shown in the US on the A&E cable network); a Bollywood variation by director Gurinder Chadha was titled Bride and Prejudice (2004); and Joe Wright directed the latest iteration Pride & Prejudice (2005) starring Oscar-nominated Keira Knightley as strong-willed Elizabeth Northanger Abbey (1986, UK) - published in 1818; a made-for-TV BBC film, telecast in the US as PBS' second Masterpiece Theatre presentation of the 1987-88 season Sense & Sensibility (1995) - published in 1811; director Ang Lee, a tale of 19th century manners, morals and romantic fulfillment; garnered 7 Oscar nominations (including Best Picture, Best Supporting Actress-Kate Winslet, Best Actress-Emma Thompson, Best Cinematography, Best Costume Design, and Best Original Dramatic Score) with only one

 Oscar win (Best Adapted Screenplay-Emma Thompson); also a BBC-TV miniseries in 1985 Persuasion (1995, UK), published in 1818; director Roger Michell, a made-for-BBC TV film Emma (1996) - published in 1816; director Douglas McGrath, with Gwyneth Paltrow as the title character in a film about courtship; inspired director Amy Heckerling's remake Clueless (1995) with Alicia Silverstone as the Emma character (named Cher Horowitz) going to school at Beverly Hills High; also a TV miniseries in 1997 with Kate Beckinsale as Emma, and broadcast on A&E Mansfield Park (1999, UK) - published in 1814; director Patricia Rozema, with feminist character Fanny Price (Frances O'Connor); also appeared as a made-for-BBC-TV miniseries in 1983 Jane Austen was the subject of a biopic from Columbia Pictures and British producer Tony Garnett titled Becoming Jane (2005), about her early life (played by Natalie Portman) and a

 romance with a young Irishman before she achieved fame as a writer.

Hugh Grant's British Romantic Comedies: In recent years, charming British romantic comedies with actor Hugh Grant have taken various shapes and forms, with the Brit: as a reserved, bumbling, and stammering 30-ish bachelor in pursuit of American Andie MacDowell after their meeting at a wedding in Four Weddings and a Funeral (1994); as a shy, travel bookstore owner who romances neurotic movie star Julia Roberts in Notting Hill (1999), and who is told: "I'm just a girl, standing in front of a boy. Asking him to love her"; and as the dashing romantic conquest of the overweight heroine Renee Zellweger in Bridget Jones's Diary (2001). Grant also appeared in first-time screenwriter Emma Thompson's adaptation of Jane Austen's dramatic costume romance Sense and Sensibility (1995), as one of the potential husbands for three headstrong Dashwood daughters (Elinor (Emma Thompson), Marianne (Kate Winslet) and Margaret (Emilie Francois)).

In Love, Actually (2003), Hugh Grant appeared as the newly-elected British Prime Minister who was competing with the US President (Billy Bob Thornton) over the affections of shapely staff secretary Natalie (former UK soap star Martine McCutcheon).

Julia Roberts in 90s Romantic Comedies: After her successes in Steel Magnolias (1989) and Pretty Woman (1990), Julia Roberts found her stride with mostly light-hearted romantic comedies, including the following: I Love Trouble (1994), with Nick Nolte Something to Talk About (1995), with Dennis Quaid Woody Allen's Everyone Says I Love You (1996) My Best Friend's Wedding (1997) Notting Hill (1999), with Hugh Grant (see above) Runaway Bride (1999), reunited with Richard Gere The Mexican (2001), with Brad Pitt America's Sweethearts (2001), with Billy Crystal Supernatural Romantic Comedies: Supernatural romantic comedies have featured ghostly characters, in such films as I Married a Witch (1942), Capra's It's A Wonderful Life (1946) , the fantasy/romance Here Comes Mr.

Jordan (1941) [remade as Heaven Can Wait (1978)] about a young boxer sent to heaven but because of a mix-up returned to Earth in the body of a soon-to-be-murdered millionaire, Ernst Lubitsch's classic satire Heaven Can Wait (1943) in which a roguish dandy Henry Van Cleeve tries to convince the devil in Hell that he deserves eternal damnation, The Bishop's Wife (1947) with Cary Grant as a heavenly angel sent into the household of the bishop's neglected wife (Loretta Young), Joseph L. Mankiewicz's The Ghost and Mrs. Muir (1947) about a cranky, former naval captain ghost (Rex Harrison) who falls impossibly in love with the widow/occupant (Gene Tierney) of his seaside cottage, or One Touch of Venus (1948) about a store window statue of Venus de Milo (Ava Gardner) that comes to life for a young department store window decorator (Robert Walker).

More recently, the top grossing film Ghost (1990) featured the enduring and passionate connection between a murdered investment consultant (Patrick Swayze) and his lover (Demi Moore) - with the memorable scene at a pottery wheel backed by the Righteous Brothers' Unchained Melody - ("Sam...I can hear you"). And Anthony Minghella directed Truly, Madly, Deeply (1991) - a tale of a mourning and depressed Nina (Juliet Stevenson) for her musician lover Jamie (Alan Rickman) who suddenly and briefly was brought back as a ghost. Homosexual Love: Early on, homosexuality was examined in director William Friedkin's The Boys in the Band (1970), compared to both Who's Afraid of Virginia Woolf? (1966) and Steel Magnolias (1989). The first modern mainstream film to feature an explicit gay romance (with a sensual gay kiss) was Arthur Hiller's romantic soap opera Making Love (1982) with Kate Jackson, Harry Hamlin and Michael Ontkean.

Gay love was also explored in modern-day England in director Stephen Frears' My Beautiful Launderette (1985) between young Pakistani immigrant Omar (Gordan Warnecke) and working-class fascist punk-rocker Johnny (Daniel Day-Lewis). Longtime Companion (1990) detailed the devastating effects of AIDS in vignettes involving seven gay men (especially the caring of Bruce Davidson's David for deteriorating, dying AIDS-stricken lover Sean (Mark Lamos)). And Neil Jordan's surprising and controversial The Crying Game (1992) told the unexpected story of growing love between Dil (Jaye Davidson) and IRA footsoldier Fergus (Stephen Rea). Joseph Fiennes as Elizabethan playwright William Shakespeare found inspiration for his famous play 'Romeo and Juliet' after loving cross-dressing beauty Viola De Lesseps (Gwyneth Paltrow) in John Madden's Shakespeare in Love (1998).

Best Director-winning Ang Lee's Best Picture-nominated film Brokeback Mountain (2005) was the first mainstream gay/bi-sexual romance film heavily promoted by the media, told about a secret lifelong bond and longing for forbidden love between two young men in the early-mid 1960s - ranch-hand Ennis del Mar (Oscar-nominated Heath Ledger) and rodeo cowboy Jack Twist (Oscar-nominated Jake Gyllenhaal), who grew close while herding sheep in the summer on an isolated Wyoming mountain. Shadowlands (1993) Synopsis - Plot Summary - Fandango GO Synopsis This lavishly mounted adaptation of the play by William Nicholson tells the true story of the doomed love affair between novelist and noted Christian scholar C.S. Lewis and a Jewish-American poet. Anthony Hopkins stars as C.S. "Jack" Lewis, an Oxford professor and successful author of the Chronicles of Narnia series of children's fantasy novels. A confirmed bachelor, Jack's existence is an inward life of the mind. Somewhat detached from the world, his only social outlet is evenings out at a local pub discussing philosophy and religion with his fellow lecturers.

Jack has been corresponding with a bluntly intelligent American woman, Joy Gresham ( Debra Winger ), who arrives to visit him, with her young son Douglas ( Joseph Mazzello ) in tow. She tells Jack that she has actually fled from an abusive marriage and plans to divorce, and Jack astonishes friends and family by agreeing to a platonic marriage with Joy so that she can obtain British citizenship. As their friendship deepens and Joy discovers that she has a terminal illness, the relationship between Joy and Jack becomes a genuine romance, and their marriage turns into a real commitment. Shadowlands (1993) had previously been filmed as a well-regarded British television movie in 1985 starring Joss Ackland as Lewis. ~ Karl Williams, Rovi Provided by Rovi JOY by Abigail Santamaria | Kirkus Reviews KIRKUS REVIEW A woman’s quest for faith and love. In this impressive debut biography, Santamaria traces the life of Helen Joy Davidman (1915-1960), a woman who likely would be a historical footnote if not for her marriage to the noted writer C.S. Lewis.

In the 1993 film Shadowlands, director Richard Attenborough portrayed their love affair. Poet, essayist, critic, and novelist, Davidman was a rebellious, abrasive, precociously intelligent woman with no social skills: “She’d look at you intensely and ask inappropriately intimate questions out of the blue,” one acquaintance recalled. It’s no wonder that she felt herself an outsider, even as a child. Her parents, secular Jewish immigrants, prized education and pushed her to excel. She became a teacher but hated it. In 1938, searching for a community with like-minded political views—and also hoping to meet men—Davidman joined the Communist Party. While she participated in meetings and social events, she devoted herself to her true vocation: writing. She won a Yale Younger Poets Award, contributed to the Marxist journal New Masses as well as other venues, and even went to Hollywood to write screenplays. By 1946, she and her husband, William Gresham, became deeply disillusioned with Marxism and gave up their Communist Party membership. Joy shifted her focus to religion, first thinking she would “become a good Jew,” then enthusiastically embracing L.

Ron Hubbard’s Dianetics. But suddenly she discovered C.S. Lewis, whose writings on Christianity she found compelling. She wrote to him and soon fell obsessively in love, traveling to England with the aim of marrying him. Her marriage to Gresham, roiled by his alcoholism and infidelities, ended in divorce. Although Lewis first bristled, he warmed to her attentions and was devastated when, months after their marriage, Joy was diagnosed with bone cancer. With access to unpublished documents and family papers, Santamaria has fashioned a compelling narrative, remaining cleareyed about her subject’s many personal failings. Pub Date: Aug. 4th, 2015 ISBN: 978-0-15-101371-5 Shadowlands DVD (Region 1) 1993. Widescreen. Color. Anthony Hopkins, Debra Winger, Edward Hardwick - Santa Flix Availability: Usually ships the same business day Product Description Shadowlands DVD (Region 1) 1993. Widescreen. Color. Anthony Hopkins, Debra Winger, Edward Hardwick, Joseph Mazzello.

This lavishly mounted adaptation of the play by William Nicholson tells the true story of the doomed love affair between novelist and noted Christian scholar C.S. Lewis and a Jewish-American poet. Anthony Hopkins stars as C.S. 'Jack' Lewis, an Oxford professor and successful author of the Chronicles of Narnia series of children's fantasy novels. A confirmed bachelor, Jack's existence is an inward life of the mind. Somewhat detached from the world, his only social outlet is evenings out at a local pub discussing philosophy and religion with his fellow lecturers. Jack has been corresponding with a bluntly intelligent American woman, Joy Gresham (Debra Winger), who arrives to visit him, with her young son Douglas (Joseph Mazzello) in tow. She tells Jack that she has actually fled from an abusive marriage and plans to divorce, and Jack astonishes friends and family by agreeing to a platonic marriage with Joy so that she can obtain British citizenship. As their friendship deepens and Joy discovers that she has a terminal illness, the relationship between Joy and Jack becomes a genuine romance, and their marriage turns into a real commitment. Region One. North American Format.

Question: Which 1993 film is about the affair between author C S Lewis and poet Joy Grisham?
Answer: Shadowlands