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Mona Lisa Smile (2003)
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Reviews Counted:146
Fresh:51
Rotten:95
Average Rating:4.9/10
Consensus: Though Mona Lisa Smile espouses the value of breaking barriers, the movie itself is predictable and safe.
Runtime: 2 hrs 5 mins
Genre: Dramas
US Box Office: $63,695,760
Synopsis: Mike Newell's MONA LISA SMILE is a pretty period film that combines a quaint pedagogical tale with a feminist dissection of traditional female roles in 1950s society. Julia Roberts leads an... Mike Newell's MONA LISA SMILE is a pretty period film that combines a quaint pedagogical tale with a feminist dissection of traditional female roles in 1950s society. Julia Roberts leads an impressive cast of top young actresses including Maggie Gyllenhaal, Kirsten Dunst, and Julia Stiles. Roberts is Katherine Watson, a revolutionary art history teacher at Wellesley College in 1953. Though she has true admiration for her intelligent all-female students, she is perturbed that their interest in finding husbands takes precedence over their studies. Determined to instruct them in feminist values and teach them to be independent--defying the college's emphasis on breeding good wives, mothers, and homemakers--Watson is deemed subversive by the administration. Even Watson's identity--from California, over 30 years old, and unmarried--is problematic. And when she turns her class onto modern art rather than teaching the recommended classical curriculum, Watson is severely chastised by the staunchly conservative students and faculty. Beautiful photography of the picture-perfect Wellesley campus combined with a perpetual parade of lovely period costumes makes MONA LISA SMILE a visual delight. Strong performances by each of the actresses, including Dunst uncharacteristically cast as a prim and proper prude, and Marcia Gay Harden as a boring tv-addicted spinster, only add to the splendor of this enjoyable film. [More]
Starring: Julia Roberts, Maggie Gyllenhaal, Kirsten Dunst, Julia Stiles
Starring: Julia Roberts, Maggie Gyllenhaal, Kirsten Dunst, Julia Stiles, Marcia Gay Harden, Dominic West, Ginnifer Goodwin, Topher Grace, Juliet Stevenson
Director: Mike Newell
Director: Mike Newell
Screenwriter: Mark Rosenthal, Lawrence Konner
Producer: Elaine Goldsmith, Deborah Schindler, Paul Schiff
Composer: Rachel Portman
Studio: Columbia Pictures
Reviews for Mona Lisa Smile
I must say that I enjoyed Mona Lisa Smile enormously, in large part because of the sheer virtuosity of the largely female cast.
Considered less as a piece of entertainment and more as an argument constructed to further a feminist agenda, the film is hugely impressive.
Isn't a subtle movie, but it does allow for surprising shades of meaning: The teacher is not always right, for instance, and sometimes it's her students who teach her.
Kirsten Dunst, Julia Stiles and Maggie Gyllenhaal furnish well-observed performances that frequently outshine Julia Roberts's reflex characterization in this female variant of "Dead Poets Society."
Roberts shows a new maturity in the role of a mentor to a flock of younger women.
There are a few reasons to enjoy the film, namely its likable cast, its noble aim -- of dramatizing one of the many small steps that led to the overhaul of women's higher education -- and its unexpected ability to surprise you.
The performances here are winning, with [Julia] Roberts not afraid to share the screen with several younger actresses who are among the best and brightest in Hollywood today.
Julia Roberts has no Mona Lisa smile -- enigmatic coyness isn't in her range -- but her big, horsey grin flashes its horse sense and beaming charm through much of Mona Lisa Smile, and viewers can smile in return.
Despite some missteps along the way, it turns out to be curiously brave underneath its conventional trappings.
A Dead Poets Society for girls, substituting Roberts' luminosity for Robin Williams' mania.
Pays tribute to a bohemian teacher who tests her idealism in the conservative milieu of Wellesley College in the Fifties.
if it doesn't have any profound insights to share, at least director Mike Newell's film doesn't traffic in suffocating sentimentality or 'those were the days' daydreaminess.
When was the last time you saw a mainstream movie with big, flashy stars that featured a fairly sophisticated discussion of the nature of art?
Its tidy conclusion belies the fact that the film doesn't know what it wants to be - serious drama, thorny romance, or a searing commentary on the changing times.
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