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flowers in the attic


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Flowers In The Attic

Flowers in the Attic Flowers in the Attic Main About This Lifetime Original Movie is based on V. C. Andrews’ controversial, cult classic book. The twisted tale of four siblings who, after their father’s unexpected death, are convinced by their mother to hide in the attic of their grandparents’ mansion so she can reclaim the family fortune. But when her visits begin to wane, the children endure unimaginable treatment at the hands of their ruthless grandmother. Stars Heather Graham, Ellen Burstyn, Kiernan Shipka, Mason Dye and Dylan Bruce. Don't Miss The Drama! Get the scoop on new movies with exclusive clips, sneak peeks and more when you sign up for Lifetime Movies email updates. Please enter a valid email address By submitting your information, you agree to receive emails from Lifetime and A+E Networks. You can opt out at any time. More details: Privacy Policy Terms of Use Contact Us
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Flowers In The Attic

Given what a prim snob I was as a pre-teen reader, it’s amazing that I picked up any of Andrews’s books in the first place. I’d skipped Judy Blume’s “Forever,” for instance, on the basis that all the jokes about Ralph were tacky. But, while I vividly recall flipping through “Flowers in the Attic” with a flashlight, late at night, the experience appears to have been traumatic, since I retained no memory of the book’s contents other than donuts powdered with arsenic. I didn’t remember that there were two younger twin siblings, for instance, or the tar in the hair, or the whippings, or even that the rotten mother had trapped her kids in the attic until she could convince her rich father to re-inherit her. But what I really didn’t remember was how little happens in “Flowers in the Attic.” Once the kids are trapped up there, all they do is read. Viewed from one perspective, it’s a tragic story of a years-long experiment with homeschooling gone horribly awry.
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Flowers In The Attic

I really don't see the need for remakes, especially when they're done so badly. Carrie, Robocop, Psycho, were all classic films and if not perfect, pretty darn close in their own right. Whenever they remake films like this, they ruin it with overdone effects, veering too far away from a story, or repeating the script almost word for word. Those films were classics for a reason. Flowers is no exception. In the original, the children were shiny and beautiful when they arrived. By the time they left, they looked so miserable, malnourished and waif-like, you believed they'd been stuck up there in that attic for years. The attic was an oppressive and claustrophobic place, even though the kids tried to make it more pleasant. In the remake, there are real flowers and sunlight, and it's quite a pretty and joyous space. Whilst I adore Ellen Burstyn and her legendary acting ability, her character showed too much compassion for the children and there were times when I thought she would scoop them up and give them a hug. Louise Fletcher nailed the part. She was cold, detached and totally intimidating. The role was written perfectly for her, so Ellen cannot be blamed for the new version. She did the best with what she was given. The acting otherwise was meh (apart from Carrie's reaction to the news about Corey), but they're kids, so once again, can be forgiven. But don't even get me started on Heather's acting. How does she get work? She sounded like she was reading her lines off the back of her hand, and she was completely wrong for the part. Victoria Tennant had substance. When she slapped Cathy, you really believed she hated her. The original may not have been true to the books 100%, but it was entertaining, believable, and the acting was good. And if it ain't broke, why try and fix it?
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Trivia: There are two versions of Flowers in the Attic out there. The United Kingdom and Australia published the “shorter” version, where the first chapter contains stories about Cathy’s very early childhood, then goes directly into her father’s birthday party. The first edition UK hardcover published by Piatkus (ISBN 0861880285) has the shorter version. The Flowers in the Attic published in the United States is the “longer” version—before the father’s birthday party, we read about Corrine’s pregnancy, the birth of the twins, and Cathy’s jealousy over the competition for her father’s time. (Thanks to Zlatko for this info.)
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I haven’t yet watched Lifetime’s new adaptation of the V. C. Andrews novel “Flowers in the Attic,” that gothic literary sensation of my youth, with its notorious, scary cut-out paperback cover and brother-sister incest plot. But I did re-read the book recently, because a friend of mine was throwing a “Flowers in the Attic”-themed fundraising event. (I have strange friends.) I was stunned to discover one theme I had forgotten: this isn’t really a book about incest after all, or even bad moms. It’s the written analogue of an after-school special about the dangers of reading.
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To my knowledge, I haven’t read any other books by Andrews—although who knows, since I clearly have a lousy memory. I doubt that they contain this much description of reading, since they are not set in attics. But there is one other major element of “Flowers in the Attic” that concerns books, and that is the introduction, which is written by Cathy herself and explains that this is her memoir. She knows that she’s no Dickens; in fact, she laments the fact that “Flowers in the Attic” is not more like “David Copperfield.” Unfortunately, she explains, Dickens “was a genius born to write without difficulty,” while Cathy writes “with tears, with bitter blood, with sour gall, well mixed and blended with shame and guilt.” Then she shows that she’s learned a lot about literature and the motivations of authors. The final lines of the introduction are among the most memorable: “Certainly God in his infinite mercy will see that some understanding publisher will put my words in a book and help grind the knife that I hope to wield.”
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The problem is that so much of Flowers' appeal is about context. The context of the book itself being contraband—an illicit document snuck home in an overstuffed backpack. The context of you being a mixed-up, hormone-addled seventh-grader when you read it, alone in your bedroom. And even the context of Flowers' being a book in the first place—words on a page that you transformed into your own private mental movie, with yourself, perhaps, in a starring role. As a Lifetime Television Event—a sanctioned airing, projected into the living room, of some grown-up's version of Flowers in the Attic—that context is gone. Completely. And so is most of Flowers’ strange, strange magic.
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Based on V.C. Andrews’ controversial cult-classic novel, “Flowers in the Attic” tells the story of the Dollanganger kids who, after the unexpected death of their father, are coerced to stay hidden in the attic of their ruthless grandmother. Written by karink
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Corrine’s grim and cold-hearted mother, Olivia, takes the children to a small room in the attic of Foxworth Hall. The next day, the children are given a list of rules and Olivia tells them to remain in the attic. Corrine explains that her father, Malcolm, had disowned her for eloping with Christopher, who was actually her half-uncle (her father’s younger half-brother) and they were disinherited. Corrine promises the children she will convince her father to forgive her, introduce them to him, and they will all live wealthy, happy lives.
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Corrine’s visits to the attic become less frequent as she begins to enjoy her new-found wealthy life and starts a relationship with her father’s attorney, Bart Winslow. Corrine informs them that while her father has forgiven her, she can’t let them meet him because she claimed that she didn’t have any children; thus, they will have to remain in the attic until he dies.
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In Flowers, it's the Dollangangers' father who dies. But as Corrine's visits to the attic begin to taper off—over time, she becomes increasingly obsessed with securing her inheritance and marrying her father's attorney—the children gradually lose their mother as well. This is the classic fairy-tale template. As I've written before, the greatest children's stories are about what happens when we become untethered from authority, whether by disobedience, disaster, or disregard, and the twinned feelings of freedom and fear we experience as we grapple with an autonomy we're not quite ready for. They are, in that sense, rehearsals for adulthood. Fiction and fantasy let children indulge their primal desire to grow up—to be rid of rules and face a dangerous and exhilarating world alone—from the safety of their own bedrooms. Flowers is no different.

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