In the few scenes between Margaret and Gray, Waters is powerful in her stern delivery, using few words and a mesmerizing stare, to tell Gray that Ruskin is hers and that she is merely a guest in her house.Įven more captivating is Emma Thompson as Lady Eastlake. Once the newlyweds arrive at Ruskin’s considerable estate, they are met by Margaret Ruskin (Julie Waters), who immediately expresses her desire to give her son a bath. Even though the gesture is well-meaning, one might feel uncomfortable not knowing what to think about the couple’s age difference (though history says they were only nine years apart).įanning is noteworthy as Gray, never overplaying her role, Director Richard Laxton let’s the film’s supporting cast connect with the audience on a personal level, leaving Fanning to simply garner viewer support for the Gray character, which she does successfully throughout. The next scene has Gray marrying renowned critic John Ruskin (Greg Wise) in Scotland, then they’re on a train heading to Ruskin’s house on the outskirts of London.įrom the beginning, there’s an awkward tension between the two, while on the train ride Ruskin brushes a lock of hair from Gray’s face, declaring her aesthetic perfection. Led by the performance of Dakota Fanning, the movie’s combination of slow melodic music and sparze dialogue creates a rhythm that keeps viewers watching through scenes of nothingness.Įuphemia ‘Effie’ Gray (Dakota Fanning) enters the frame telling a story to her little sister about a girl who marries a man with wicked parents, foreshadowing one of the film’s central encounters. Instead the film gradually builds conflict to give an authentic atmosphere to its 19 th century setting. There are no spectacular events or climatic moments in Effie Gray.
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