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.
120 Reviews
"The moment passes, and then you're alone again."
classicsoncall31 July 2018
Warning: Spoilers
Had the title not already been taken, and with Anthony Hopkins in the lead role, this film might have been called "The Remains of the Day". Both were released in 1993, and I was caught off guard watching Hopkins in roles that were so similar to each other in both stories. His character in 'Remains' if anything is even more walled off from his emotions, and one becomes frustrated seeing his character unwilling to express his feelings or even his thoughts on subjects of major import. He's somewhat more forthcoming as author C.S. Lewis in this film based on the writer's passionless life, until he meets an American poet who challenges his perceptions and gradually wins his heart.
I'm always leery of Hollywood treatments of real life stories because they almost never treat their subjects truthfully, either by omission or commission. I read with interest the review posted here on IMDb by user 'Eric-62-2', who excoriates the picture for the way it diminished the importance of Christianity in the lives of both Lewis and Joy Gresham (Debra Winger). Oddly, I had a sense of that while watching the film, as Lewis's Christian faith profoundly affected his works, while the film barely touches on the subject. One also gets a sense that Lewis's marriage to Gresham ended quite suddenly due to her cancer, while in reality, they had four years together before she succumbed to her illness.
It's probably fair warning for prospective viewers to have a box of Kleenex handy for this film, as there are any number of scenes that tug at the heart and leave one feeling despondent over the fate of Ms. Gresham and the son who will be left without a mother. A final scene in particular with Lewis and young Douglas (Joseph Mazzello) coping with their loss is particularly moving, though in the tradition of achieving something positive out of tragedy, the very final scene is one of Lewis and his son walking contentedly in a Golden Valley of their own making.
I'm always leery of Hollywood treatments of real life stories because they almost never treat their subjects truthfully, either by omission or commission. I read with interest the review posted here on IMDb by user 'Eric-62-2', who excoriates the picture for the way it diminished the importance of Christianity in the lives of both Lewis and Joy Gresham (Debra Winger). Oddly, I had a sense of that while watching the film, as Lewis's Christian faith profoundly affected his works, while the film barely touches on the subject. One also gets a sense that Lewis's marriage to Gresham ended quite suddenly due to her cancer, while in reality, they had four years together before she succumbed to her illness.
It's probably fair warning for prospective viewers to have a box of Kleenex handy for this film, as there are any number of scenes that tug at the heart and leave one feeling despondent over the fate of Ms. Gresham and the son who will be left without a mother. A final scene in particular with Lewis and young Douglas (Joseph Mazzello) coping with their loss is particularly moving, though in the tradition of achieving something positive out of tragedy, the very final scene is one of Lewis and his son walking contentedly in a Golden Valley of their own making.
Shadowlands
Prismark1029 May 2023
Shadowlands started out as a 1986 BBC television film. Actor Joss Ackland regarded playing CS Lewis as one of his favourite roles.
William Nicholson later adapted his own screenplay for a movie version directed by Richard Attenborough. This was a small chamber piece for a director better known for epics with a cast of thousands.
For Anthony Hopkins it was another opportunity to show he can do subtle and nuance after winning an Oscar for The Silence of the Lambs.
Inspired by the true story of dusty dry Oxford academic CS Lewis. Who fell in love with divorced American poet Joy Gresham in 1950s Britain.
It is a story of how a middle aged man, known for his children books. Turned friendship into a marriage of convenience (in order for Joy to remain in Britain.) To romance by which time she is dying of cancer.
Just as Hopkins did in 84 Charing Cross Road. It is a portrait of a hemmed in repressed grey 1950s Britain. In this case the upper echelons of academia which seemed to have been consisted of single old men.
The acting is top notch. The direction is retrained. It's a bit of a tearjerker.
William Nicholson later adapted his own screenplay for a movie version directed by Richard Attenborough. This was a small chamber piece for a director better known for epics with a cast of thousands.
For Anthony Hopkins it was another opportunity to show he can do subtle and nuance after winning an Oscar for The Silence of the Lambs.
Inspired by the true story of dusty dry Oxford academic CS Lewis. Who fell in love with divorced American poet Joy Gresham in 1950s Britain.
It is a story of how a middle aged man, known for his children books. Turned friendship into a marriage of convenience (in order for Joy to remain in Britain.) To romance by which time she is dying of cancer.
Just as Hopkins did in 84 Charing Cross Road. It is a portrait of a hemmed in repressed grey 1950s Britain. In this case the upper echelons of academia which seemed to have been consisted of single old men.
The acting is top notch. The direction is retrained. It's a bit of a tearjerker.
A Beautiful Film
Bucs19606 March 2002
Warning: Spoilers
This film, based on the love story of C.S. Lewis, noted author, scholar and religious apologist, and Joy Gresham, American poet, is so very haunting and beautiful. Those familiar with Lewis will know the tragic outcome of this love story for the ages and will appreciate the realistic adaptation to the screen. Sir Richard Attenborough could have been tempted to cast glamorous actors in the leads but instead he chose Anthony Hopkins and Debra Winger whose characterizations more closely resembled the true life couple. Hopkins, who should have been nominated for the Academy Award for this role, plays Lewis to a T.....rumpled, vague and totally naive in the ways of the world and certainly where love is concerned. Winger, looking frumpy, is appropriately brash and out of place in the world of Oxford academia. She approaches Hopkins' character with a refreshing honesty that is sometimes hurtful but always straight to the heart of the matter. In the end, it helps him to cope. She captures his soul and therein begins the short but wonderful love story that forever changes their lives. The intensity of their relationship and the inevitable ending will make you weep and a box of Kleenex is recommended. Heavy breathing and graphic loves scenes are not what this is about.....it's about love that transcends the physical and it will steal your heart away. You will weep and rejoice at this film....see it!
Intelligent, Powerful, and Joyous
Texasguy14 April 2000
I probably watch this film every two years, yet like fine wine, it grows even better after time. This picture is a beautiful, thought provoking, and highly effective meditation on how love, death, god, joy, and pain all coexist in the strange universe that is life. With subject matter as complex as this, the viewer can see where one could easily become lost in C.S. Lewis's story, but "Shadowlands" never falters. The film remains quiet, simple, and highly effective through Attenborough's understated direction, and its cast's uniformly excellent performances.
However, what sits at the very core of "Shadowlands" beauty is its ultimate truth. There are moments in this film so full of genuine, unflynching emotion that its power practically hits the audience member in the gut. Yes, the film's magnificently depicted scenes of death and grieving never fail to jerk tears from my eyes, but Lewis's closing lines regarding the choices he made as a boy and a man make me sob.
"Shadowlands" is undoubtedly representative of filmaking at its very best. I recommend this film without reservation to anyone!
However, what sits at the very core of "Shadowlands" beauty is its ultimate truth. There are moments in this film so full of genuine, unflynching emotion that its power practically hits the audience member in the gut. Yes, the film's magnificently depicted scenes of death and grieving never fail to jerk tears from my eyes, but Lewis's closing lines regarding the choices he made as a boy and a man make me sob.
"Shadowlands" is undoubtedly representative of filmaking at its very best. I recommend this film without reservation to anyone!
An Extremely Touching Film
ccthemovieman-120 March 2006
C. S. Lewis is making a bit of a comeback with the "Chronicles Of Narnia" movie of late, but here's a film portrait of him made in 1993 starring the great British actor Anthony Hopkins.
To Christians, Lewis has always been a familiar name: one of the greatest and most well-known Christian apologists theologians ("Merre Christianity," "The Screwtape Letters,"etc.) and fiction (the Narnia series) writers of all time. But this film - no surprise - doesn't really deal with that: it's mainly a love story, the love he had toward his American wife, played by Debra Winger.
Being a Brit, the film takes place in England and features some wonderful landscapes of that great country. Hopkins exudes warmth in the role of Lewis and Winger is okay, New York City accent and all, as the American. I would have chosen someone else for the role, but Winger gets by.
Not to be forgotten is the fine job Edward Hardwicke did as "Warnie," Lewis' brother. Joseph Mazzello, one of the top child actors of the early '90s, is the Lewis' young boy. When father and son cry together at the end, it is one of the most touching scenes I've ever viewed on film.
It's a touching story, period, and if it doesn't get your eyes moistened at least once, check your pulse. The dialog in here is excellent, too. I particularly enjoyed the by-play of dry wit between the professors and Winger's various comments to her husband.
Nice films like this are unusual and should be treasured, as Lewis and his works are by so many people, Christian or non-Christian.
To Christians, Lewis has always been a familiar name: one of the greatest and most well-known Christian apologists theologians ("Merre Christianity," "The Screwtape Letters,"etc.) and fiction (the Narnia series) writers of all time. But this film - no surprise - doesn't really deal with that: it's mainly a love story, the love he had toward his American wife, played by Debra Winger.
Being a Brit, the film takes place in England and features some wonderful landscapes of that great country. Hopkins exudes warmth in the role of Lewis and Winger is okay, New York City accent and all, as the American. I would have chosen someone else for the role, but Winger gets by.
Not to be forgotten is the fine job Edward Hardwicke did as "Warnie," Lewis' brother. Joseph Mazzello, one of the top child actors of the early '90s, is the Lewis' young boy. When father and son cry together at the end, it is one of the most touching scenes I've ever viewed on film.
It's a touching story, period, and if it doesn't get your eyes moistened at least once, check your pulse. The dialog in here is excellent, too. I particularly enjoyed the by-play of dry wit between the professors and Winger's various comments to her husband.
Nice films like this are unusual and should be treasured, as Lewis and his works are by so many people, Christian or non-Christian.
Good adaptation
critic-223 April 2000
Shadowlands
DIRECTION 48% Sweet and natural looking period drama.
ACTING 86% You can't go wrong with Hopkins and the other supports don't distract from this man.
EDITING/SPECIAL EFFECTS 15% Not needed here that much.
PLOT 87% A true story about C. S. Lewis.
STRONG WORDS AND VIOLENCE ETC N/A.
MUSIC 92% Classical variations to bring the BIG church traditional music to life and glorious wonder.
SOUND 10% Natural sounds for natural people.
HOOKABILITY 79% Love the music, love the start!
LASTABILITY 85% If you don't already know the story you will want to see the end.
OVERALL 82% Good adaptation of a true story, not disappointing but could have been better if more of his personal christian experiences were related to the viewer.
DIRECTION 48% Sweet and natural looking period drama.
ACTING 86% You can't go wrong with Hopkins and the other supports don't distract from this man.
EDITING/SPECIAL EFFECTS 15% Not needed here that much.
PLOT 87% A true story about C. S. Lewis.
STRONG WORDS AND VIOLENCE ETC N/A.
MUSIC 92% Classical variations to bring the BIG church traditional music to life and glorious wonder.
SOUND 10% Natural sounds for natural people.
HOOKABILITY 79% Love the music, love the start!
LASTABILITY 85% If you don't already know the story you will want to see the end.
OVERALL 82% Good adaptation of a true story, not disappointing but could have been better if more of his personal christian experiences were related to the viewer.
Lewis' step-son says the portrayal of emotion is perfect.
mecandes14 May 2000
A few years ago, I had the pleasure to correspond with Douglas Gresham. (FYI, Douglas is Joy's son -- thus C.S. Lewis step-son -- played by Joseph Mazzello in this film.) I had recently seen Shadowlands, and so I asked Douglas how "true to life" the picture was. He told me that some details (dates, places) had been changed slightly for obvious dramatic/story-telling reasons, but that the "spirit" and "feeling" of all the emotions portrayed in the movie were perfectly accurate. That's exactly what it all felt like, he said.
I own the movie (and the soundtrack), and have seen it a dozen times... and I still get teary-eyed at the scene where Douglas and Jack cry in each other's arms... this movie rates a perfect 10 from me; I can't find any fault with it at all.
I own the movie (and the soundtrack), and have seen it a dozen times... and I still get teary-eyed at the scene where Douglas and Jack cry in each other's arms... this movie rates a perfect 10 from me; I can't find any fault with it at all.
Dewy-eyed, but not all wet
moonspinner5512 March 2006
Romanticized true account of British writer C. S. Lewis and his timid, awkward friendship and eventual marriage to American poet Joy Gresham, a feisty divorcée with a young son. After a flat, numbing first-half, "Shadowlands" gets a bit pacier, becoming a moving (if rather saintly) look at old-fashioned feelings and true love. Anthony Hopkins, playing Lewis, doesn't seem quite into this role (his performance consists mainly of faraway glances and noble little smiles), but Debra Winger as Gresham comes through with a strong characterization. "Shadowlands" is beautifully filmed and obviously made with great care, but it's missing that hearty ingredient which might have made it a romantic classic. Factual story was first produced for British television in 1985 and starred Joss Ackland and Claire Bloom; writer William Nicholson penned both versions, as well as a play under the same title. **1/2 from ****
"The pain then is part of the happiness now..."
dwr24618 February 2005
Warning: Spoilers
Get a box of Kleenex, and be prepared to go through the whole box when you sit down to watch this movie. Shadowlands is one of the most moving films ever to be made - an affecting tale of love, loss, and the price of safety.
Shadowlands is the story of C. S. Lewis (Anthony Hopkins), and his relationship with American Joy Gresham (Debra Winger). When the movie starts, we find Lewis, known as Jack to his associates, teaching at Oxford, writing, lecturing, and living as a bachelor on the family farm with his bachelor brother Warnie (Edward Hardwicke). It's a comfortable, if somewhat empty existence. Jack receives a letter from an American woman asking if she can meet him. They agree to have tea, and strike up a friendship, as Jack is impressed with the brash, yet very intelligent Joy. She tells him that her son loves his Narnia chronicles and asks if the boy can meet him. Jack agrees, and Joy brings her son, Douglas (Joseph Mazello) to Jack's home. Jack and Joy maintain a correspondence, and at Christmas, Joy writes that she is coming to England for the holidays, and would like to visit. Jack invites her to stay at his home. While there, Joy tells Jack that her marriage is ending. Several months later, Jack runs into Joy after a lecture he has given. She tells him that she has moved to England, and invites him to her house for dinner. While he's there, she asks him to marry her so she can stay in the country. He agrees, and they have a platonic marriage until Joy becomes gravely ill, forcing Jack to reevaluate his feelings for her and the state of their marriage.
Visually, this is a beautiful film, set mostly in the lovely English countryside. The period is well depicted, and you feel that you have stepped back slightly in time. And the wardrobe in Jack's attic is a particularly good touch.
The script is brilliant. Emotional issues are handled with great intelligence, and comic touches help to lighten what is sometimes a very dark story. Jack's emotional fragility is presented in such a way that the viewer discovers it with him at about the time he realizes that this aspect of his personality must change. Joy's brashness balances very well with her emotional intelligence, and she gets the best lines in the film, both comic (her response to the baiting of one of Jack's colleagues "Are you trying to be offensive, or merely stupid?"), and poignant ("The pain then is part of the happiness now," as she tries to prepare Jack for her imminent death). Her scenes with Jack are lovely, and the growth in the course of their relationship is beautifully depicted. Warnie is also a nicely developed character, a loyal and caring brother who takes on the responsibility of caring for Joy's son with warmth and kindness. Nothing is wasted, as every scene helps to propel the story forward to its conclusion.
The acting is excellent. Hopkins' portrayal of Jack is sensitive without being weak. Winger hits all the right notes in her portrayal of Joy, brash and bold, yet with a better understanding of emotion than the more sensitive Jack. Edward Hardwicke does a nice job with Warnie, giving us a performance that makes us wish we knew more about him. And Joseph Mazello gives a great performance as Douglas, a little boy who finds himself orphaned in a strange land with few people to turn to. The scene where Douglas and Jack finally comfort each other over their common loss is among the most touching in the movie.
A movie that stays with you long after it ends, and makes you long to sit through it again and again. Just make sure you have those Kleenex handy...
Shadowlands is the story of C. S. Lewis (Anthony Hopkins), and his relationship with American Joy Gresham (Debra Winger). When the movie starts, we find Lewis, known as Jack to his associates, teaching at Oxford, writing, lecturing, and living as a bachelor on the family farm with his bachelor brother Warnie (Edward Hardwicke). It's a comfortable, if somewhat empty existence. Jack receives a letter from an American woman asking if she can meet him. They agree to have tea, and strike up a friendship, as Jack is impressed with the brash, yet very intelligent Joy. She tells him that her son loves his Narnia chronicles and asks if the boy can meet him. Jack agrees, and Joy brings her son, Douglas (Joseph Mazello) to Jack's home. Jack and Joy maintain a correspondence, and at Christmas, Joy writes that she is coming to England for the holidays, and would like to visit. Jack invites her to stay at his home. While there, Joy tells Jack that her marriage is ending. Several months later, Jack runs into Joy after a lecture he has given. She tells him that she has moved to England, and invites him to her house for dinner. While he's there, she asks him to marry her so she can stay in the country. He agrees, and they have a platonic marriage until Joy becomes gravely ill, forcing Jack to reevaluate his feelings for her and the state of their marriage.
Visually, this is a beautiful film, set mostly in the lovely English countryside. The period is well depicted, and you feel that you have stepped back slightly in time. And the wardrobe in Jack's attic is a particularly good touch.
The script is brilliant. Emotional issues are handled with great intelligence, and comic touches help to lighten what is sometimes a very dark story. Jack's emotional fragility is presented in such a way that the viewer discovers it with him at about the time he realizes that this aspect of his personality must change. Joy's brashness balances very well with her emotional intelligence, and she gets the best lines in the film, both comic (her response to the baiting of one of Jack's colleagues "Are you trying to be offensive, or merely stupid?"), and poignant ("The pain then is part of the happiness now," as she tries to prepare Jack for her imminent death). Her scenes with Jack are lovely, and the growth in the course of their relationship is beautifully depicted. Warnie is also a nicely developed character, a loyal and caring brother who takes on the responsibility of caring for Joy's son with warmth and kindness. Nothing is wasted, as every scene helps to propel the story forward to its conclusion.
The acting is excellent. Hopkins' portrayal of Jack is sensitive without being weak. Winger hits all the right notes in her portrayal of Joy, brash and bold, yet with a better understanding of emotion than the more sensitive Jack. Edward Hardwicke does a nice job with Warnie, giving us a performance that makes us wish we knew more about him. And Joseph Mazello gives a great performance as Douglas, a little boy who finds himself orphaned in a strange land with few people to turn to. The scene where Douglas and Jack finally comfort each other over their common loss is among the most touching in the movie.
A movie that stays with you long after it ends, and makes you long to sit through it again and again. Just make sure you have those Kleenex handy...
A film that sorely needed a score
rockymark-3097418 May 2021
This is obviously a well-directed and well-acted film that loses much by its lack of a good score to hold everything together and "spot" changes in mood.
The one composer that came to mind that would have been perfect for this type of film was the French composer Georges Delerue. He could have lifted this film into the stratosphere of emotions.
Unfortunately he died the year before this film was released. George Fenton's score was one of the most anemic I've ever heard and it does nothing to carry the film.
But there are other issues here too. For a film like this, theological debates should have balanced the more domestic/sentimental scenes. There should have been debates throughout (on pain, on the existence of God, on theodicy, on the value of human suffering, etc.) I don't mean "intellectual" debates, but the kind of conversations that must have been routine among Lewis and his colleagues at the university, more like bull sessions.
Instead the film meanders along, often without focus, and valuable film time is wasted on showing the little boy mesmerized by an attic, and similar scenes that seem pointless.
Despite her Oscar nom and reviews that praised her performance, Debra Winger's performance seemed perfunctory, but blame must also go the screenwriter for not giving her part more substance.
One can't praise a film simply for its good intentions and risk-taking in an age when people fire guns in a movie 5 minutes after the movie begins. The movie needed some "muscle."
A powerful score could have provided it, but also a screenplay that balanced the romance with serious theological debates over pints of beer.
The one composer that came to mind that would have been perfect for this type of film was the French composer Georges Delerue. He could have lifted this film into the stratosphere of emotions.
Unfortunately he died the year before this film was released. George Fenton's score was one of the most anemic I've ever heard and it does nothing to carry the film.
But there are other issues here too. For a film like this, theological debates should have balanced the more domestic/sentimental scenes. There should have been debates throughout (on pain, on the existence of God, on theodicy, on the value of human suffering, etc.) I don't mean "intellectual" debates, but the kind of conversations that must have been routine among Lewis and his colleagues at the university, more like bull sessions.
Instead the film meanders along, often without focus, and valuable film time is wasted on showing the little boy mesmerized by an attic, and similar scenes that seem pointless.
Despite her Oscar nom and reviews that praised her performance, Debra Winger's performance seemed perfunctory, but blame must also go the screenwriter for not giving her part more substance.
One can't praise a film simply for its good intentions and risk-taking in an age when people fire guns in a movie 5 minutes after the movie begins. The movie needed some "muscle."
A powerful score could have provided it, but also a screenplay that balanced the romance with serious theological debates over pints of beer.
This film is just extraordinary!
TheLittleSongbird15 June 2009
I will say that when I saw the rating of 7.4, someone will say that is a fairly decent rating. I personally think for this masterpiece, the rating should be higher, honestly the quality of the acting and cinematography makes it worthy to be in the top 250. I honestly did think that this film is just extraordinary, beautifully shot with wonderful locations, and matched perfectly by one of the most gorgeous music scores I have ever heard in my life, composed by George Fenton that never interfered with the calmness of the film. Richard Attenborough has directed many ambitious but beautifully made films like Oh!What a Lovely War, Cry Freedom and Chaplin, and I will say that Shadowlands deserves to be up there with his best, it is a heart-rending film of true love and the consequences that left me speechless(I am 17), that I don't think has had enough praise. The performances were just outstanding. Anthony Hopkins was phenomenal as CS Lewis, and I am glad he got some awards for his performance, honestly it was that good. Debra Winger is just perfection as Joy Gresham, a victim of the devastating illness bone cancer. The two leads' chemistry is the main reason why I love this movie, I confess I cried when Lewis held the dying Joy in his arms, the reason being it reminded me of Mimi's Death Scene in La Boheme. The child star, Joseph Mazello was a huge surprise as Douglas, a boy of wide imagination and deep feeling. The scene where he and Lewis are crying in each other's arms made my eyes well up with emotion, never until yesterday did I see Hopkins look so tender with anybody on screen, not even in The Elephant Man. As Warnie, Edward Hardwicke best known for his appearances as Dr Watson in the 80s-90s Sherlock Holmes series was remarkable, a minor character but one with feeling and understanding. The actors are helped by a poignant and well-written script, that at times does give clever nods to Lewis's literary genius. It is no wonder that Shadowlands got an award for best British film of the year, it is just beautiful. It is more steady paced than the Elephant Man, another film I am really fond of,and less involving in terms of action, but neither of these things are disadvantages, because i cannot deny what joy I felt watching this film. 10/10 Bethany Cox.
A wonderful film
studioAT22 October 2015
Warning: Spoilers
Based on a play which in itself became a film 'Shadowlands' follows Narnia writer C.S Lewis as he realises what love is, only when he then in turn loses it.
I wasn't convinced I'd enjoy this film when I put the DVD in, but with such strong performances from Anthony Hopkins and Debra Winger I was soon swept along in the warmth and heart of the story.
At times it can make you laugh and then its ending leaves you in tears and it is that balance that to me makes a good film.
I'd highly recommend this film and it is the type of film we rarely see these days. A moving and heartfelt tale.
I wasn't convinced I'd enjoy this film when I put the DVD in, but with such strong performances from Anthony Hopkins and Debra Winger I was soon swept along in the warmth and heart of the story.
At times it can make you laugh and then its ending leaves you in tears and it is that balance that to me makes a good film.
I'd highly recommend this film and it is the type of film we rarely see these days. A moving and heartfelt tale.
Watered Down Version Of The True Story
Eric-62-226 August 2004
"Shadowlands" had already been effectively done once before as a British TV-movie with Joss Ackland and Claire Bloom. It's poignance lay in it's ability to movingly tell the story of C.S. Lewis and Joy Gresham *without* tampering with the facts. And in particular, the importance of Christianity in the lives of both Lewis and Joy was not watered down one iota. When Lewis goes through his crisis after her death, we hear quotations from his moving "A Grief Observed" that helped him regain focus on his faith, and the film ended with a powerful image of Lewis planning to tell his stepson Douglas about the meaning of faith.
Alas, this important element is completely missing from this ultimately pointless theatrical version of the story. To be sure there are fine performances by Hopkins and Winger, but in addition to the altered factual details (unlike the original telefilm, Joy's elder son David Gresham is zapped from existence this time out), this movie in typical arrogant Hollywood style decides to remove the importance of Christianity from both the lives of C.S. Lewis and Joy. The end result is something that is blatantly dishonest in the worst form, and one can only note that if Lewis and Joy were practitioners of any faith other than traditional orthodox Christianity, we would no doubt have not seen Hollywood (which will always have nothing but contempt for those of traditional faith) try to downplay this into meaninglessness.
Leave it to Hollywood to find a way of turning a story about the 20th century's greatest apologist for traditional Christianity into what is ultimately another of their typical backhanded anti-Christian swipes.
UPDATE: Four years later, I am amused to see the reasons for my negative view validated in so many of the positive reviews of this film, which again operate from the conceit that the importance of Christian faith in the lives of both C.S. Lewis and Joy is something that can be easily ignored. That is the ultimate testament to the historical dishonesty behind this movie because without the mutual element of faith, there is no story of these two. This was the point that the original BBC telemovie did NOT forget, and it accomplished it without giving us a non-stop sermon (which is what the apologists for this movie seem to think a critic like me would have wanted to see) but by judiciously inserting the moments of Lewis and Joy talking about faith, and giving us that poignant ending that lets us know that Lewis is serious about teaching Douglas the meaning of how to find the true faith in God that he has now recovered in the wake of Joy's death. That is the definitive telling of the story in a way that this one could only hope to be.
Alas, this important element is completely missing from this ultimately pointless theatrical version of the story. To be sure there are fine performances by Hopkins and Winger, but in addition to the altered factual details (unlike the original telefilm, Joy's elder son David Gresham is zapped from existence this time out), this movie in typical arrogant Hollywood style decides to remove the importance of Christianity from both the lives of C.S. Lewis and Joy. The end result is something that is blatantly dishonest in the worst form, and one can only note that if Lewis and Joy were practitioners of any faith other than traditional orthodox Christianity, we would no doubt have not seen Hollywood (which will always have nothing but contempt for those of traditional faith) try to downplay this into meaninglessness.
Leave it to Hollywood to find a way of turning a story about the 20th century's greatest apologist for traditional Christianity into what is ultimately another of their typical backhanded anti-Christian swipes.
UPDATE: Four years later, I am amused to see the reasons for my negative view validated in so many of the positive reviews of this film, which again operate from the conceit that the importance of Christian faith in the lives of both C.S. Lewis and Joy is something that can be easily ignored. That is the ultimate testament to the historical dishonesty behind this movie because without the mutual element of faith, there is no story of these two. This was the point that the original BBC telemovie did NOT forget, and it accomplished it without giving us a non-stop sermon (which is what the apologists for this movie seem to think a critic like me would have wanted to see) but by judiciously inserting the moments of Lewis and Joy talking about faith, and giving us that poignant ending that lets us know that Lewis is serious about teaching Douglas the meaning of how to find the true faith in God that he has now recovered in the wake of Joy's death. That is the definitive telling of the story in a way that this one could only hope to be.
What Shadowlands does, it does very well.
jeromec-28 September 2004
Many people seeing this film who are familiar with CS Lewis' writings will be tempted to be disappointed.
They should not be. In defense of this film and the method used to get the results, I have two things to say.
The first, and by far the most important, is that spiritual films are very difficult to make -- especially if one is speaking about something above one's head. That's why the life of Jesus is such a difficult subject and has met with so little success, at least from an artistic point of view.
Even Mel Gibson's Passion suffers from this to some extent. I would say his representation of the Passion reflect more of our times and what we consider to be important than on the ministry of Jesus. I may be wrong; I am not a believer so my opinion may not matter. But what is true is that no matter what your belief, spiritual man (Jesus, Mohammed, Buddha and others) are very hard to make biographies of. In my opinion what they represented survived not because we have understanding, but because our instincts tell us they are what we should be. It is not a mind thing at all. AND FILMS REQUIRE OUR MINDS, at least to make them. It would take a soul equal to that of Christ to make a film about Christ.
To a far lesser extent, that is true of CS Lewis. His was a very complex theology dressed in wonderful parables. He had a great understanding of the parables and used the same technique. It does little good to discuss his theology in a film that is about 2 hours long. In fact, the viewer is sort of expected to know something about his writings and theology.
Which brings me to my second point. Perhaps it is because I am over 60 and not been brought up on Romances that I find this one so appealing. Here was a man that had lived his entire life one way, mostly in his mind, when he was confronted with feelings that demanded he reinterpret everything he believed. How many of us at his age could do what CS Lewis did?
Here was a man that thought one way and was forced to live another. What the mind is a very poor substitute for what our emotions understand. CS Lewis was very quick, I think, to recognize this and embraced it completely once he found it out.
Douglas Davidman Gresham (Joy Gresham's son), has said that the film is perhaps not completely factually correct, but the emotion representation is "spot on".
For me, no truer words could be spoken. What does it matter what details are missing, or changed because we have only 2 hours to tell a story? What matters is that we see the humanity of the man and his wonderful ability to embrace openly his new found emotions are what matters. And to put this into his spiritual structure was even more remarkable.
It's a good film. Enjoy it and pay attention. It requires an open heart and an open mind. Give it both.
They should not be. In defense of this film and the method used to get the results, I have two things to say.
The first, and by far the most important, is that spiritual films are very difficult to make -- especially if one is speaking about something above one's head. That's why the life of Jesus is such a difficult subject and has met with so little success, at least from an artistic point of view.
Even Mel Gibson's Passion suffers from this to some extent. I would say his representation of the Passion reflect more of our times and what we consider to be important than on the ministry of Jesus. I may be wrong; I am not a believer so my opinion may not matter. But what is true is that no matter what your belief, spiritual man (Jesus, Mohammed, Buddha and others) are very hard to make biographies of. In my opinion what they represented survived not because we have understanding, but because our instincts tell us they are what we should be. It is not a mind thing at all. AND FILMS REQUIRE OUR MINDS, at least to make them. It would take a soul equal to that of Christ to make a film about Christ.
To a far lesser extent, that is true of CS Lewis. His was a very complex theology dressed in wonderful parables. He had a great understanding of the parables and used the same technique. It does little good to discuss his theology in a film that is about 2 hours long. In fact, the viewer is sort of expected to know something about his writings and theology.
Which brings me to my second point. Perhaps it is because I am over 60 and not been brought up on Romances that I find this one so appealing. Here was a man that had lived his entire life one way, mostly in his mind, when he was confronted with feelings that demanded he reinterpret everything he believed. How many of us at his age could do what CS Lewis did?
Here was a man that thought one way and was forced to live another. What the mind is a very poor substitute for what our emotions understand. CS Lewis was very quick, I think, to recognize this and embraced it completely once he found it out.
Douglas Davidman Gresham (Joy Gresham's son), has said that the film is perhaps not completely factually correct, but the emotion representation is "spot on".
For me, no truer words could be spoken. What does it matter what details are missing, or changed because we have only 2 hours to tell a story? What matters is that we see the humanity of the man and his wonderful ability to embrace openly his new found emotions are what matters. And to put this into his spiritual structure was even more remarkable.
It's a good film. Enjoy it and pay attention. It requires an open heart and an open mind. Give it both.
Anthony Hopkins and Debra Winger bring a wonderful love story to life.
gitrich26 November 1998
The true story of British writer C. S. Lewis who, despite his comfortable bachelor life, falls in love with a lively, spirited American poet played extremely well by Debra Winger. Excellent script, and direction along with outstanding performances by the supporting cast.
CS Lewis finds love and loses it.
aradford5730 December 2021
Beautiful, beautiful, beautiful.
This film is utterly perfect.
A film about love, faith & loss.
Top notch acting from all the truly wonderful cast
Attenborough has directed several great films but this one is an exquisite jewel of a film.
This film is utterly perfect.
A film about love, faith & loss.
Top notch acting from all the truly wonderful cast
Attenborough has directed several great films but this one is an exquisite jewel of a film.
Toned-down and fairly slow.
PK_7126 August 2023
Shadowlands is, more often than not, described as a love story, and, sure enough, it is. But it is also a story about a famous writer and respected scholar, an Englishman of advancing years, who has repressed any and all feelings ever since he lost his mother as a young child.
Socializing mainly with his colleagues, and living with his brother, the protagonist has built an intimidating castle, surrounded by fortified walls and a deep and wide moat, in order to protect himself. Not against any threats from the outside world, but from reality and, most of all, from his inner self.
Now, what would happen if someone approached the outer gates of his castle? What would happen if someone knocked on his door?
Anthony Hopkins is brilliantly cast as the emotionally handicapped author C. S. Lewis, and he does a really good job of portraying him. Debra Winger performs well in her role as the author's American fan, but this is clearly Anthony Hopkins' show.
I recommend that you watch Shadowlands, but don't do it on a night when you're tired. This is a toned-down and fairly slow film, and to enjoy it thoroughly, you need to be focused.
Socializing mainly with his colleagues, and living with his brother, the protagonist has built an intimidating castle, surrounded by fortified walls and a deep and wide moat, in order to protect himself. Not against any threats from the outside world, but from reality and, most of all, from his inner self.
Now, what would happen if someone approached the outer gates of his castle? What would happen if someone knocked on his door?
Anthony Hopkins is brilliantly cast as the emotionally handicapped author C. S. Lewis, and he does a really good job of portraying him. Debra Winger performs well in her role as the author's American fan, but this is clearly Anthony Hopkins' show.
I recommend that you watch Shadowlands, but don't do it on a night when you're tired. This is a toned-down and fairly slow film, and to enjoy it thoroughly, you need to be focused.
A Different and Edifying Look at Love and Death
jacksflicks13 June 1999
Warning: Spoilers
Two different, yet complimentary people meet and discover they have something in common: the conviction that life is a gift. C. S. Lewis, an Englishman, an Oxford don who lives the interior life, is confronted by an American writer-poet who shows him how to become a part of the world in a way that makes the imagery of his works become manifest.
Then, she dies. What does this do to his faith?
The casting is perfect.
"Shadowlands" contains the most powerful deathbed scene ever recorded on film.
Then, she dies. What does this do to his faith?
The casting is perfect.
"Shadowlands" contains the most powerful deathbed scene ever recorded on film.
Gets my admiration, but not praise.
mark.waltz6 August 2023
Warning: Spoilers
Definitely a character driven film based on situations in the life of C. S. Elliot (Anthony Hopkins) whose life as a religious scholar is turned upside down by his acquaintance with American poet Joy Davidman Gresham (Debra Winger) which reveals his hidden passions. She's definitely a free spirit, outspoken but troubled, in an unhappy marriage and thus traveling with her son (two in real life), so vulnerable to gaining feelings for a very different personality type, with Hopkins quite her opposite. Their feelings are undeniable and only become stronger by her fatal bout of cancer. The confiction of his ideals is what drives the film emotionally.
I can say honestly that I liked the film, did not love it, although this gives its stars some very good material which they are excellent with. Hopkins once again shows great versatility, and Winger gets to show multiple aspects to this very interesting woman. Its her best role since "An Officer and a Gentleman", and probably her last great part. But perhaps the film will be far too quiet for most viewers, as there's little more than a conflict of the souls to the plot rather than a lot of action. It's definitely the type of film to watch in a quiet, reflective mood than in a hyper, desperate for action mood. A good later day film for director Richard Attenborough who probably wanted piece and quiet after starring in "Jurassic Park".
I can say honestly that I liked the film, did not love it, although this gives its stars some very good material which they are excellent with. Hopkins once again shows great versatility, and Winger gets to show multiple aspects to this very interesting woman. Its her best role since "An Officer and a Gentleman", and probably her last great part. But perhaps the film will be far too quiet for most viewers, as there's little more than a conflict of the souls to the plot rather than a lot of action. It's definitely the type of film to watch in a quiet, reflective mood than in a hyper, desperate for action mood. A good later day film for director Richard Attenborough who probably wanted piece and quiet after starring in "Jurassic Park".
I re-iterate a commonly held opinion that this is an extraordinary movie.
mcjmurray30 December 2021
I have watched this movie many times and it always moves me beyond my plebeian existence into another place I inhabit only occasionally the film that moves me. Debra Winger and Anthony Hopkins are simply perfect together as Joy Gresham and Jack (C S) Lewis.
Not as good as Remains Of The Day
FreeMM18 March 2006
After being very impressed with Remains Of The Day I was more than keen to watch this, after hearing a lot of good things about it. After a good start I lost interest about forty five minutes in and upon reflection, felt that the film needed a little bit more character development before plunging into the start of a relationship between writer CS Lewis and a married American woman. I don't know why this didn't grab me because it started well and had a good feel about it, but I think that for me there was too big a leap taken between a cursory relationship to one of great love. I couldn't get into the feelings being presented on screen in the end.
A beautiful film
Grumpyoldman19 May 2006
This film would not normally be the kind I would choose to see. However, it is the only movie to make me cry as an adult. This is despite the fact that the subject matter seems far less important than, say, "Schindler's List". Perhaps though it is as important because it operates at a human level that is easier for most of us to relate to. Although I was familiar with C. S. Lewis, I had not previously known enough about him to be aware of his love for Joy Gresham and the outcome of their relationship. That perhaps made it all the more powerful. Perfect acting and a story that is simple, yet so moving. Less is most certainly more.
Debra Winger Dies of Cancer....AGAIN
evanston_dad10 February 2009
Warning: Spoilers
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+
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+
Unconvincing, Uninvolving, and Death comes far too slowly.
ags12325 February 2018
Debra Winger is such a good actress. She brings vitality and edginess to her characters. So it was surprising to see her attempt to rein it in here for the sake of this plodding, stiff-upper-lip tale of love gained and lost. The film moves at a snail's pace with no inventive directorial flourishes to make it interesting, relying instead on sanctimonious dialogue and somber performances. It gets old long before the aching two-and-a-half hours have passed. Though Anthony Hopkins gives it his usual earnest effort, the whole thing fails to ring true, particularly in wasted scenes like his feeble call for room service. Not especially entertaining or enlightening.
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