Which is saying something, because it's only developed in one elliptic flashback and a few
throwaway lines here and there.
Not exact matches
Here's the thing: every time a character is introduced, every time a seemingly
throwaway line of dialogue is given that little extra emphasis, every time the classic three - act structure requires a very particular plot development... you know exactly what's coming next.
The first half of «A Quiet Passion,» in particular, is a riotous assemblage of drawing - room banter to rival Whit Stillman's recent adaptation of the Jane Austen comedy «Love & Friendship,» though the
line readings
here are more deliberate than effervescent, and even
throwaway witticisms prove intimately revealing of character, milieu and circumstance.
So much of what actually works
here comes from little looks, an occasional
throwaway line in what seems to be a screenplay that left plenty of room for the two lead actors to improvise jokes to mixed effect, and the situations that are far shorter than the majority of scenes, like when the son takes his mother to the Grand Canyon after she has spent the entire trip saying she wants to see it.