Even her doting Aunt Lavinia (the sublimely funny Judith Ivey) and other relatives share the opinion that Catherine is sweet but dull, lacking the conversational skills and grace that are a social requirement for women of the era.Īs Catherine becomes more cruelly convinced that lovelessness is her destiny, Kaufman and Chastain hollow her out to the point where even her suppressed rage doesn’t register. He presents Catherine as a damaged woman, crushed into permanent withdrawal by her father’s disregard for her. Much of this appears to some degree intentional on the part of director Moisés Kaufman.
In the early scenes in particular, Chastain’s approach also seems too tethered to naturalistic-style screen acting, prompting attention to be drawn to the more vivid presences around her. She makes it hard to get a handle on the character, let alone feel anything for the pallid creature. VIDEO: Guillermo del Toro’s ‘Mama’ Trailer Features a Transformed Jessica Chastainįrom the start, her Catherine yoyos between self-possession and self-effacement, between eloquence and painfully inarticulate shyness, period formality and flat contemporary cadences.
But playing against type is less a problem in Chastain’s frustrating performance here than inconsistency of characterization. In her prolific burst of film work over the past two years, the lovely Juilliard-trained actress has impressed with her poise and delicacy, balancing fragility with quiet inner fortitude. Austin Sloper ( David Strathairn) in mid-19 th century New York. Making her Broadway debut, Chastain is not a natural fit for Catherine, the socially awkward, plain-Jane daughter of wealthy widowed medic Dr. Broadway Keeps "Mask Optional" Policy For Audiences In August and Beyond
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