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The Proposition

The Proposition

Drama · Romance · 1998

Father Michael McKinnon goes from the UK to Boston circa 1935. For unknown reasons, he avoids at all costs the most prominent parishioners, Arthur and Eleanor Barret. Meanwhile Eleanor and Arthur desperately want to have a child, but Arthur is sterile, so they hire Harvard law student Roger Martin to impregnate Eleanor, but unfortunately Roger falls in love with her.

Movie details

The Proposition

“One man gave up everything he owned. The other, everything he believed in.”

1998 Drama · Romance 1h 50m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Father Michael McKinnon goes from the UK to Boston circa 1935. For unknown reasons, he avoids at all costs the most prominent parishioners, Arthur and Eleanor Barret. Meanwhile Eleanor and Arthur desperately want to have a child, but Arthur is sterile, so they hire Harvard law student Roger Martin to impregnate Eleanor, but unfortunately Roger falls in love with her.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Proposition?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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“Wuthering Heights”

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Madame Bovary

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Names above the title

The people responsible.

Directed by

Lesli Linka Glatter

Written by

Rick Ramage

Madeleine Stowe

Madeleine Stowe

Eleanor Barret

Kenneth Branagh

Kenneth Branagh

Father Michael McKinnon

William Hurt

William Hurt

Arthur Barret

Robert Loggia

Robert Loggia

Hannibal Thurman

Blythe Danner

Blythe Danner

Syril Danning

Ken Cheeseman

Ken Cheeseman

Wayne Fenton

Dee Nelson

Dee Nelson

Susan Vicar

Court is in session

Put The Proposition on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.