Jack’s announcement that he is planning to have an affair coincides with one of the most difficult cases of her career. Fiona, oblivious, reads aloud: “Michael’s heart is normal and sustains them both.” She might as well be describing her marriage. There’s a terrific scene early on when Jack is trying to tempt her away from work – a ruling on a pair of conjoined twins – with offers of dinner and theatre tickets. It was changed when Whoopi Goldberg was cast, because. The original name of the singer-turned-sister was Terri Van Cartier. Fiona is dedicated to and consumed by her job, at the expense of her marriage to academic Jack (Stanley Tucci). THE NAME OF THE MAIN CHARACTER WAS CHANGED WHEN MIDLER LEFT. There is a steely elegance to her she’s an ermine robe with the claws still showing. Eminent high court judge Fiona Maye (superbly inhabited by Emma Thompson) is given to brusque certainties – her decisions in life are as final and binding as those she makes in court. There is no questioning the angular complexity of the central character study, with all its unexpected harmonics and discords. It is also, arguably, one of the main problems with a film that manages to be both wholly persuasive and utterly preposterous. Esme is described as the sickly, child-like wheelchair-bound daughter, and Camile as the perfect caretaker and mother. The writing of Ian McEwan – he adapted this screenplay from his own novel – is sophisticated and rewarding. Lifetime describes the movie as inspired by a true story and a shocking tale of a mother and daughter who are nothing like they seem, their tumultuous relationship ending in a brutal murder.
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