Truly, Madly, Deeply
|Truly, Madly, Deeply|
|Directed by||Anthony Minghella|
|Produced by||Robert Cooper|
|Written by||Anthony Minghella|
|Music by||Barrington Pheloung|
|Editing by||John Stothart|
|Distributed by||The Samuel Goldwyn Company|
|Running time||106 minutes|
Nina, an interpreter, is beside herself with grief at the recent death of her boyfriend, Jamie, a cellist. When she is on the verge of despair, Jamie reappears as a "ghost" and the couple are reconciled. The screenplay never clarifies whether this occurs in reality, or merely in Nina's imagination. Nina is ecstatic, but Jamie's behaviour – turning up the central heating to stifling levels, moving furniture around and inviting back "ghost friends" to watch videos – gradually infuriates her, and their relationship deteriorates. She meets Mark, a psychologist, to whom she is attracted, but she is unwilling to become involved with him because of Jamie's continued presence. Nina continues to love Jamie but is conflicted by his self-centered behaviour and ultimately wonders out loud, "Was it always like this?" Over Nina’s objections, Jamie decides to leave to allow her to move on. At the end of the film, Jamie watches Nina leave with Mark and one of his fellow ghosts asks, "Well?" and Jamie responds, "I think so. Yes." At this point the central conceit of the movie has become clear: Jamie came back specifically to help Nina get over him by tarnishing her idealised memory of him.
- Juliet Stevenson as Nina
- Alan Rickman as Jamie
- Jenny Howe as Burge
- Carolyn Choa as Translator
- Bill Paterson as Sandy
- Christopher Rozycki as Titus
- Keith Bartlett as Plumber
- David Ryall as George
- Stella Maris as Maura
- Ian Hawkes as Harry
- Deborah Findlay as Claire
- Vania Vilers as Frenchman
- Arturo Venegas as Roberto
- Richard Syms as Symonds
- Michael Maloney as Mark
Minghella said he wrote the script specifically as “a vehicle for [Stevenson] to express all her talents. She plays piano, likes dancing and has a quirky side to her which she usually can't express in the classical parts she is asked for”. The title comes from a word game played by the main characters, in which they challenge each other to by turns repeat and add to a series of adverbs describing the depths of their mutual affection. The working title for the film was 'Cello', a reference not only to the cello within the film, but also to the Italian word 'cielo' for heaven. The film was made-for-TV, and produced in a 28-day shooting schedule for just $650,000.
It was shot on location in London and Bristol, with external shots in Highgate and on the South Bank. Some of the film was also shot in Juliet Stevenson's Highgate flat.  Stevenson has stated in 2012 that it was the favourite role of her career, commenting that the shoot was like a party. 
The film was very successful, winning several awards including a BAFTA for best original screenplay. It became a big hit in the American arthouse circuit and Minghella subsequently was offered work by every important studio in Hollywood. The movie's combination of serious themes with comic scenes, music and strong performances from the actors made it very popular. Roger Ebert called it "a "Ghost" for grownups" (a common comparison because of the shared theme of husbands returning as ghosts and the concurrent releases of the movies) and considered the movie to reveal "some truths that are, the more you think about them, really pretty profound". Review aggregator Rotten Tomatoes reports that 23 of 32 professional critics have given the film a positive review while 82% of the audience liked it. At Metacritic the film has weighted mean score of 72 out of 100 based on 16 reviews.
- Australian Film Institute's Best Foreign Film Award
- BAFTA's award for best original screenplay
- Rickman and Stevenson won Best Actor and Best Actress awards from the Evening Standard British Film Awards
- Won Critics' Award and Best Actress (Juliet Stevenson) at the 1992 Avoriaz International Fantastic Film Festival.
- Rickman and Stevenson were nominated for best actor and actress by BAFTA
- "TRULY MADLY DEEPLY (PG)". British Board of Film Classification. 1991-07-04. Retrieved 2013-03-04.
- Truly, Madly, Deeply at Box Office Mojo
- Anthony Minghella, Commentary with the MGM DVD release
- Mees, Jaap. "Anthony Minghella". Talking Pictures. Retrieved 2008-04-08.
- "Flashback: Juliet Stevenson on working with Anthony Minghella in 1990", Daily Telegraph 2 Mar 2012
- Alan Rickman: The Unauthorised Biography (2012) Maureen Paton, Random House, ISBN 9781448132645
- Film London
- Roger Ebert, Truly, Madly, Deeply, May 24, 1991
- Truly, Madly, Deeply (1991) at Rotten Tomatoes.
- Truly Madly Deeply at Metacritic.
- 1992 Avoriaz Awards at IMDB
- Truly, Madly, Deeply at the Internet Movie Database
- Truly, Madly, Deeply at Box Office Mojo
- Truly, Madly, Deeply at Rotten Tomatoes
- Truly, Madly, Deeply at Metacritic