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Swept from the Sea

Swept from the Sea

Drama · Romance · 1998

The film tells the story of Russian emigree and the only survivor from ship crash Yanko Goorall and servant Amy Foster in the end of 19th century. When Yanko enters a farm sick and hungry after the shipwreck, everyone is afraid of him, except for Amy, who is very kind and helps him. Soon he becomes like a son for Dr. James Kennedy and romance between Yanko and Amy follows.

Movie details

Swept from the Sea

“In the heart of an outcast, he found his destiny. In the passion of an outsider, she found her home.”

1998 Drama · Romance 1h 53m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

The film tells the story of Russian emigree and the only survivor from ship crash Yanko Goorall and servant Amy Foster in the end of 19th century. When Yanko enters a farm sick and hungry after the shipwreck, everyone is afraid of him, except for Amy, who is very kind and helps him. Soon he becomes like a son for Dr. James Kennedy and romance between Yanko and Amy follows.

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 Swept from the Sea?

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

Beeban Kidron

Written by

Tim Willocks

Rachel Weisz

Rachel Weisz

Amy Foster

Vincent Perez

Vincent Perez

Yanko

Ian McKellen

Ian McKellen

Dr. James Kennedy

Kathy Bates

Kathy Bates

Miss Swaffer

Joss Ackland

Joss Ackland

Mr. Swaffer

Tony Haygarth

Tony Haygarth

Mr. Smith

Fiona Victory

Fiona Victory

Mrs. Smith

Court is in session

Put Swept from the Sea 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.