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'--Blackchurch and seek a job with a
wealthy gentile family as a governess.
Soon Rosina is traveling from the
warm support of her community to
the wet and damp confines of a gray
Scottish castle on the Isle of Skye
owned by the Cavendish family. As
Rosina enters her room, the first orna-
ment she notices is a cross, which she
quickly removes from the wall:
Much of the story is told by Rosina
in a voice-over reading of her letters
back home. In the first one, she says,
"I'm not like them. I feel like the word
'Jewess' is embossed on my forehead."
She receives a chilly reception by
Mrs. Cavendish (Harriet Walter, Sense
and Sensibility), a pretentious woman
with a perfect coiffure of ringlets and
\—,a porcelain smile. It is clear that she
'-'and her scientist husband, played by
Tom Wilkinson ( The Full Monty,
Prime Suspect), have little in common.
Meanwhile, in the secrecy of her
room, Rosina performs the Jewish rit-
ual of lighting the Sabbath candles,
and she often cloaks herself in the
comfort of a large tallis. Her dreams,
vividly portrayed, often revert to her
\__family life in London, and she finds
/--- 'herself humming religious chants.
It's not long before Rosina's curiosity
leads her to explore Charles Cavendish's
laboratory, where she discovers he is
working on discovering a formula for
the fixation process that will secure a
photographic image to paper.
As Rosina begins the process of
assisting Charles with his experiments,
\--,their relationship literally "develops"
into a personal and professional affair.
But soon, Rosina's aunt's whispered
warning early in the film comes to
haunt her: "You never know a man's
true nature.
In fact, Rosina comes to believe
that she cannot understand gentiles at
all as her life in the castle begins to
unravel. She writes to her sister, "Gen-
ciles are not monsters, I find, although
they are deeply mysterious."
Minnie Driver finally has a chal-
lenging role that asks her to employ a
full range of acting abilities in her
most interesting film depiction to
date, and she is surrounded by a more
than capable entourage.
The film comes to a fit ending with
Rosina re-established in her own corn-
munity again, only this time as a
respected photographer who, as she
says, "... captures the beauty of my
father's people . and I am glad."
Rated R.
** 1 /2
71
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Behind
The Scenes
Sandra Goldbacher seems tiny, a
waif really, small and slender, and
barely large enough to lift a can of
film let alone direct one.
But she's just completed her
first big film, and, like many first-
time directors, Goldbacher, 37,
took on a project that resonated
with stories from her own life.
"The background of the two
central characters [Rosina and her
employer] are quite similar to that
of my father, a Sephardic Jew from
Italy, near Venice, and to that of
my mother, a Protestant from the
Isle of Skye who converted when
she met my father," says Gold-
bacher.
Goldbacher's grandfather, who
died in a concentration camp dur-
ing the war, was an engineer and
university professor; his wife
(Goldbacher's grandmother) and a
daughter fled to the mountains
and survived.
Goldbacher's father, who was
studying medicine, fled to Eng-
land, where he eventually opened
his own company and prospered.
But he'd lost almost his entire past.
"I wanted to put that in the
film and explore someone losing
that sense of self," says Goldbach-
er.
Goldbacher experienced
episodes of anti-Semitism growing
up in Britain. What she remem-
bers most was the sense of being
different. It made the loss of her
father's community all the greater
when she came to understand it.
Goldbacher became entranced
with film as a college student, and
after graduation and a stint at the
Sorbonne, attended Britain's
national film school. She shot
some commercials, two documen-
taries and a couple of short films
that caught the attention of pro-
ducer Sarah Curtis (Mrs. Brown),
who helped set the wheels for The
Governess in motion.
It's a big year for Goldbacher.
In addition to the film, she's get-
ting married in the fall and then
begins work on a new project. T1
— Curt Scbleier
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Detroit Jewish News
S/21
1995
97