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The Whole Wide World

The Whole Wide World

Drama · Romance · 1996

In 1930s Texas, pulp fiction master Robert E. Howard is introduced to Novalyne Price, a teacher with aspirations of becoming an author herself, and they begin a unique relationship filled with conversation and imagination. Although the possibility exists for romance, Howard's obsession with his work and dedication to his sick mother leads Price to look elsewhere for love, leaving Howard feeling betrayed and alone.

Movie details

The Whole Wide World

“Based on a true story.”

1996 Drama · Romance 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

In 1930s Texas, pulp fiction master Robert E. Howard is introduced to Novalyne Price, a teacher with aspirations of becoming an author herself, and they begin a unique relationship filled with conversation and imagination. Although the possibility exists for romance, Howard's obsession with his work and dedication to his sick mother leads Price to look elsewhere for love, leaving Howard feeling betrayed and alone.

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 Whole Wide World?

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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Names above the title

The people responsible.

Directed by

Dan Ireland

Written by

Michael Scott Myers

Vincent D'Onofrio

Vincent D'Onofrio

Robert E. Howard

Renée Zellweger

Renée Zellweger

Novalyne Price

Ann Wedgeworth

Ann Wedgeworth

Mrs. Howard

Harve Presnell

Harve Presnell

Dr. Howard

Benjamin Mouton

Benjamin Mouton

Clyde Smith

Helen Cates

Helen Cates

Enid

L

Leslie Buesing

Ethel

Court is in session

Put The Whole Wide World 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.