The divine secrets
Divine Secrets of the Ya-Ya Sisterhood (2002)
After years of mother-daughter tension, Siddalee receives a scrapbook detailing the wild adventures of the "Ya-Yas", her mother's girlhood friends.After years of mother-daughter tension, Siddalee receives a scrapbook detailing the wild adventures of the "Ya-Yas", her mother's girlhood friends.After years of mother-daughter tension, Siddalee receives a scrapbook detailing the wild adventures of the "Ya-Yas", her mother's girlhood friends.
Watch Divine Secrets of the Ya-Ya Sisterhood
David Lee Smith
- Callie Khouri
- Rebecca Wells(novels "Divine Secrets of the Ya-Ya Sisterhood" and "Little Altars Everywhere")
- Mark Andrus(adaptation)
- Callie Khouri(screenplay)
- All cast & crew
More like this
Forces of Nature
Lisa Picard Is Famous
Two Weeks Notice
The First Wives Club
Where the Heart Is
Two If by Sea
While You Were Sleeping
In Love and War
Did you know
Featured in At the Movies: Divine Secrets of the Ya-Ya Sisterhood/Ivans XTC/Undercover Brother/Atanarjuat: The Fast Runner/Bad Company (2002)
viewing through a testosterone filter
`The Divine Secrets of the Ya-Ya Sisterhood' is about a mother/daughter conflict and then friends come to the rescue. A simple plot about some of our society's unimaginably complex unwritten and unspoken rules.
Ya-Ya is a wonderful cinematic experience. The acting and dialog are absolutely first rate and every major role is virtually perfect. They will be throwing darts at the cast credits to pick award winners. The movie is worth the price of admission just to see Maggie Smith perform even when she has no dialogue.
The movie's most remarkable aspect is what happens when it is viewed through a testosterone filter. It is illuminating to look at the IMDB voting demographics. One quarter of the males voting on this movie have given it a `1' out of 10 while only about 3% of the females gave it a `1'. Considering that there always appears to be a 3-5% background noise on any voting this an astounding gender discrepancy. As a 56 year old male it has only been in the last decade that I've had any inkling of the intricacies of female interactive dynamics. I suspect that puts me ahead of the curve as far as males go. As a society we indoctrinate our young females into the issues of the emotional power struggle, the dynamics of the `pecking order', and day-to-day collegial help and support at a level far removed from that which most males experience. I won't argue whether or not this is sexist but I believe the observation to be valid. This movie deals with these issues and, as such, I suspect the fundamental substance of the movie is illusive for much of the male audience.
At its heart this is not a chick movie. A `chick movie' is about things that female moviegoers like. This movie is about what it is to be raised a female in our society. Ya Ya 9/10
- Jun 17, 2002
Contribute to this page
Suggest an edit or add missing content
What is the French language plot outline for Divine Secrets of the Ya-Ya Sisterhood (2002)?
More to explore
You have no recently viewed pages
Divine Secrets Ya-Ya Sisterhood Deserves Another Chance
According to a recent study by the USC Annenberg Inclusion Initiative, film criticism is a field overwhelmingly dominated by (surprise, surprise) white men. Not anymore. In Refinery29's new series, Writing Critics' Wrongs, our female movie critic will give fresh consideration to the movies we love, hate, or love to hate. It's time for a rewrite.
I can trace back one of my most persistent anxieties about motherhood to a teenaged viewing of The Divine Secrets of the Ya-Ya Sisterhood. One scene in particular comes to mind: Vivi Abbot Walker (Ashley Judd), exhausted and overwhelmed, goes to confession after a particularly fraught night spent caring for four sick kids who stopped screaming her name only when they vomited. Clad in her most stylish coat, tied carelessly over a worn slip, she kneels in the confessional and admits her most shameful secret: She wants more.
“In my thoughts, I want to abandon my children,” she tells her priest. “I want to injure my husband, I want to run away, I want to be unattached, I want to be famous.”
Based on the eponymous novel by Rebecca Wells, The Divine Secrets of the Ya-Ya Sisterhood follows the difficult relationship between Vivi (played later in life by Ellen Burstyn) and her daughter Sidda (Sandra Bullock), a successful New York-based playwright who’s still working through an unnamed childhood trauma. When she gives a too-candid interview about her past, the overly dramatic Vivi cuts her off, causing Sidda to panic and postpone her engagement to fiance Connor (Angus Macfaydden) — what if she’s somehow unfit to be loved? Cue the Ya-Yas (Vivi’s childhood friends and surrogate mothers to Sidda) who swoop in to stage an intervention, and sit Sidda down with an old scrapbook. In a series of flashbacks, Sidda starts to unravel the secrets of Vivi, Caro (Maggie Smith), Teensy (Fionnula Flanaghan), and Necie (Shirley Knight), and realizes they could hold the key to her future.
The film, which hit heaters on June 7, 2002, marked the directorial debut of Callie Khouri — who had written the acclaimed screenplay for Thelma and Louise — and was one of the rare movies by and about women to be released that year. But I didn’t know that at the time. As a tween still figuring out the murky depths of womanhood, all I knew was that it was one of the first times I’d ever seen an onscreen mother figure second-guess her decision to have kids. And it scared me.
I have almost nothing in common with Vivi. As a Louisiana housewife in the 1950s, she had few other options, and a severe drinking problem that exacerbated her untreated mental health issues. And yet, there’s something so relatable about a young woman feeling like she’s the star of her own life, with big dreams and ambitions, only to realize that maybe it’s not going to work out. Every once in a while, I think about that scene. It still has the power to shake me. What if I feel robbed by my future kids? What if I make the wrong decision? What if I end up hating them and myself?
Yet, at the time, many film critics failed to pick up on these profound, disturbing questions. The Divine Secrets of the Ya-Ya Sisterhood opened to fairly mediocre reviews, dismissing it as another lame, sentimental chick flick.
At The New York Times, Stephen Holden called it “nurturing, in a gauzy, dithering way.” Writing for Time, a publication that plays a pivotal role in the film, Richard Schickel dismissed the ending as “a waste of everyone's time.” Roger Ebert gave it a star and a half, and noted that Khouri “seems uncertain what the film is about, where it is going, what it hopes to prove apart from the most crashingly obvious cliches of light women's fiction.” Rolling Stone’s Peter Travers, for his part, straight up addressed his review to men. “For guys whose pain threshold is way low when it comes to the bonding of Steel Magnolias,” he wrote, “Ya-Ya is a definite no-no.”
Contrast that with the piece Donna Britt wrote for The Washington Post, which highlighted the impact of seeing women’s stories on screen, no matter how flawed, in a world where so few movies were being catered to our interests. Her point was hammered home at the box office, where the film grossed $69.5 million domestically, more than doubling its production costs, as women headed en masse to theaters.
That’s not to say that women were overwhelmingly positive in their reactions. Slate’s Moira Redmond criticized the film’s reliance on a “punishing theme: that you need to have a bad mother in order to ‘find yourself’. ” Meanwhile, over at Salon, Stephanie Zacherek skewered the movie’s glossy, ra-ra approach to sisterhood, which leaves little room for individual stories for shine through.
And in fairness, there is a lot to criticize here. Much like Gone With The Wind, whose 1939 Atlanta premiere Vivi and her friends attend in a flashback, the movie glosses over complicated questions of race by framing its protagonists as benevolent white ladies in a biased society. Vivi is repeatedly shown defending her Black maid, Wiletta (Leslie Silva) from racist attacks, without ever being forced to grapple with her own prejudice. That’s consistent with the glamorous version of the South that The Divine Secrets Of The Ya-Ya Sisterhood wants to impart. It’s a world of graceful homes, gin rickeys, crawfish lawn parties and gossip, with a healthy dose of bayou mysticism. But it also buys into the myth of white Southern womanhood mass-producing sassy, strong-willed, steel-backboned, no-nonsense ladies, prizing loyalty and family above all.
What’s more, there’s definitely a disconnect in the portrayal of characters over time. Ellen Burstyn’s Vivi is delectable as a fabulous overblown diva, but it’s hard to imagine Ashley Judd’s hardboiled Vivi turning out that way. As for Sidda’s emotionally absent father, Shep (David Lee Smith), he shares little resemblance to the understanding, gentle version played by James Garner. And certainly, it’s wishful thinking to believe that the kind of emotional wounds depicted over the course of the film would be solved by Sidda and her mother having just one honest conversation.
But something magical happens when the film embraces its escapism. It helps that the Ya-Yas seem undeniably fun to be around. Flanaghan and Smith, in particular, make their characters into forces of nature. They completely inhabit the campy, kitsch vibe, dishing out sex advice to anyone who’ll listen, and guzzling their drinks with gusto. (Maggie Smith drawling “It’s delish!” about a shockingly pink Cosmo is forever tattooed on my brain. ) Still, I also fully buy that they’d just as easily be repressed when it comes to talking about the more serious aspects of their lives. Mental illness, addiction, sorrow — those aren’t in Ya-Ya glossary. Nor are boundaries, as made evident by their plan to drug and kidnap Sidda to Louisiana so she’s forced to confront her mother.
And then there’s the flashbacks, which draw us, like Sidda herself, into an exclusive, bygone club of exaggeratedly genteel femininity — if that ever existed at all. Those moments are a grown-up fantasy version of the sleepovers you had with your own friends, with silken bloomers and flasks subbing in for flannel Paul Frank pajamas and Sour Cream ‘N’ Onion Ruffles.
Khouri has a rare gift for teasing out the delicate strands of intimacy that exist between women who have grown up together, sharing their most personal secrets. In fact, one of the most striking aspects of the film is just how little men seem to matter in this world. Shep and Connor are the only even vaguely developed male characters, and they pale in comparison to the women in their lives. In that respect, they feel akin to the countless generic “wife” or “mother” characters, whose sole purpose is to prop up the men around them. (Yet another element that didn’t sit well with male reviewers, unused to seeing themselves relegated to the sidelines and forced to identify with the opposite sex.)
The staying power of The Divine Secrets Of The Ya-Ya Sisterhood lies in its messy, complex depiction of mother-daughter relationships. When we meet young Vivi, she’s a spirited firecracker, beloved by her friends and sweetheart Jack (Matthew Settle). She’s got dreams of moving to New York and becoming a journalist, and it seems like nothing will everget in the way. She’s one of those girls who grows up knowing she’s special, chosen for a grand adventure of a life.
But then Jack dies fighting in World War II, and a heartbroken Vivi ends up married to the wrong man, and having four kids. She was born too early for her ambitions. It’s Sidda who gets to live out her mother’s dreams, and though Vivi is proud, she’s also jealous.
As Sidda, Bullock is likeable in her usual, earthy way, but it’s Judd who really carries the movie. With her warm, confident smile, always a hair away from turning manic as the mundane threatens to consume her, she’s magnetic to watch — the natural queen bee of a group of outrageous women. When we see her through Sidda’s rosy childhood eyes, she appears larger than life, the coolest, most charming mother a girl could hope for. But there’s always a rageful sadness lurking behind that mask, and that’s the side that comes through in the scene in the confessional, and later when Vivi has a violent nervous breakdown =that causes her to physically attack her kids. Khouri’s lens is sympathetic, and doesn’t so much condemn Vivi as try to understand women like her, even as it never sugarcoats the consequences of her actions.
Like Vivi, The Divine Secrets Of The Ya-Ya Sisterhood was a little ahead of its time. It never quite got to ride the wave of change in Hollywood as women called for more diverse and nuanced representation behind the camera and onscreen. Instead, it dreamed big, floundered and eventually petered out, making way for better versions of itself. But that doesn’t mean it wasn’t important.
“The Divine Secrets of the Ya-Ya Sisterhood” is available to stream on Netflix.
Film Divine Secrets of the Ya-Ya Sisterhood (USA, 2002) - Afisha-Kino
Divine Secrets of the Ya-Ya Sisterhood, USA, 2002
Provided by the user: Sergey Oganesyan
2 About the film Cast Reviews (2)Similar
Popular young writer Sidda lives in New York, away from her home in Louisiana and from her beloved, but very eccentric mother, with whom she once flares up a real family war. To reconcile the mother and daughter are taken "Sisters I-I" - three old mother's girlfriends. nine0003
Duration of 56 minutes 9000 Judd, Shirley Knight, Angus Macfadyen, Jacqueline McKenzie,
Most Anticipated Events
Movies directed by Callie Corey1
65 years old, films: 2
Best reviews about the film “Divine Secrets of Sisters Ya-I”2
163 REMOVERS, 2269 9000 9000 9000
This is a movie about family. And the movie is great. The story seems to be simple, not too extreme, well, mother and daughter quarreled. However, here a whole film was made from one quarrel.
Siddali Walker is a young screenwriter and playwright. One of the Broadway theaters undertook to stage her play. On this occasion, an interview was published in the newspaper. Here are just the words of Siddali there properly distorted. She just said that she had a difficult relationship with her mother, and they wrote that her mother was an alcoholic and a psychopath. Viviana read this and naturally could not stand such an insult. They stopped talking and kind of stopped talking altogether. nine0053 And all this was in danger of dragging on, but then the ya-ya sisters appeared, three sexy old women who have been friends with Vivi since their very childhood and in childhood they swore to always help each other in everything, and, the strangest thing, they still don’t broke oaths. These jerks invite Sidda to a bar, sprinkle sleeping powder and take her to the country house of one of them, not far from Viviana's house, to tell her something about her mother and make her look at things a little differently.
And then, out of scraps of old dresses that have long been small or do not exist at all, from dried flowers between the pages of books and old photographs, the story of this very Viviana and her children is created. Perhaps if I hadn't met my father's classmate this summer, who told me about my parents from ages 14 to 17, I wouldn't have truly understood how Sidda might have felt. Because when someone comes into your life who knew your mom like you never knew her, it... helps. nine0053 The same with the heroine of Sandra Bullock. She hasn't dealt with resentment in her entire life. She continued to look at Vivian from the position of a child, for her she was only a bad mother, drinking and beating children, suffering from mental disorders, running away from home and leaving her family. Although she had bright memories, they were overshadowed by bad ones.
She did not know that Viviana's life cracked when the military pilot, her fiancé, died. She did not know that she married her father because he thought it was better "to play a second solo in an orchestra than to be a spectator at all." She didn't understand how you could go crazy because all four of your children were sick with disinteria, and you are alone, and no one is helping you. This, by the way, is the most amazing scene in the film, when little Sidda comes to Vivi's bedroom, coughs and wakes her up, she tells her to drink water and gives a glass standing on the bedside table, and there is vodka. Then together they carry the younger children to the bathroom, one of them crap one's pants, Vivi takes off his clothes and throws them on the floor, the second child immediately gets into it, and Siddu starts to feel sick, and the first boy in the bathroom starts to cry, and Vivi just stands there, plugs his ears and shouts: “Shut up, shut up everyone right now!” and she was shaking all over, and a thin tear on her cheek. nine0053 This is a very good story about forgiveness and understanding, but it wouldn't be so successful if it wasn't so well played. Even the American Bullock didn't spoil the games for the wonderful elderly English women
September 15, 2008
187 reviews, 1229 ratings, rating 81
some nonsense. the whole film is pumped up that GG-ni's mother has some kind of terrible secret, because of which her relationship with her daughter does not add up, but it turns out ... well, in general, nothing like that ... if only she another man went to live or something... and so..
Out of finger
December 30, 2015All reviews
similar 2000, Tragicomedy
Scandinavian fantasy "Three Nuts for Cinderella": what was the Norwegian remake of the old fairy tale? nine0003
Marvel movies you haven't seen
What kind of inclusivity can be found in The Addams Family?
Films about science fiction creatures
Create a unique page of your event at the Afisha
This is the opportunity to tell about it a multimillion -dollar audience and increase the attendance of
- Almetyevsk, 9016 ANAGANISK,