For the first time since her husband's death, she had thrown off her weeds, and put on attire more suited to the occasion. She was richly, yet plainly dressed, in a purple velvet, with a hood of white point lace. Even her silent handmaids were surprised out of their ordinary propriety by her appearance.
[H]e told me I did not treat him as if he was my husband, or talk of my children as if I was a mother; and, in short, that I did not deserve to be used as a wife.
It was not two beautiful and well-gowned young women that attracted the attention of all[…]
Boyle revives some of the stylistic tics which found themselves being ripped off by geezer-gangster Britflicks back in the day, but now the freezeframes are briefer, sharper; the movie itself refers back to the original with variant flashback versions of famous scenes, but also Super 8-type images of the boys’ poignant boyhood in primary school.
