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In Philadelphia, Rose and Maggie (Toni Collette and Cameron Diaz) are two sisters with very different personalities. When they were young, they lost their mom Caroline to suicide and were raised by their dad Michael (Ken Howard). Now Rose is a responsible adult and on a career path as a lawyer. Maggie never settled down, cannot hold a job, and relies on her looks to attract a succession of meaningless relationships.
The sisters have a serious bust-up after Maggie ruins Rose's latest relationship. Rose reassesses her priorities, becomes a dog walker, and explores a romance with former office colleague Simon (Mark Feuerstein). Maggie packs up and relocates to Florida, where she reconnects with her grandmother Ella (Shirley MacLaine), Caroline's mother. Ella lost touch with her granddaughters after Caroline's death, in part because of a dispute with Michael. Ella, Maggie, and Rose have to come to terms with the past as they try to forge new bonds.
Directed by Curtis Hanson and written by Susannah Grant (adapting Jennifer Weiner's novel), In Her Shoes is a heartwarming family mosaic. With good production values, plenty of supporting characters providing colour, and a steady stream of revelations, the 130 minutes easily breeze by. Some of the ups and downs experienced by sisters Rose and Maggie are familiar for sure, and the drive towards tidy resolutions borders on predictable, but the film does put in the work through sustained conflicts to earn the more sentimental moments.While the opening act initially hints at a flighty story, In Her Shoes quickly gains heft with sure-footed ventures into difficult topics. Caroline is only seen in photos, but her mental illness and suicide defined her daughters' childhoods, and the consequences resonate into their adulthood. Ella and Michael's contrasting attitudes towards Caroline's condition add a thony layer of complexity, while Maggie also has a reading disability stunting her ability to thrive. Hanson treats the mental health challenges with pragmatism, avoiding sappiness and allowing Rose and Maggie to come to terms with realities at their own pace.
In Her Shoes gains momentum as the characters make conscious - and internally logical - decisions to alter their trajectories. Difficult choices require somber acting, and the three leads deliver. Cameron Diaz in particular impresses, covering a wide range from shiftless to determined. Toni Collette provides an anchor as the more responsible sister but with her own emotional limits, while Shirley MacLaine delivers a restrained performance grounded in Ella's past regrets but also confidence in her ability to exert influence.
Several men ranging from dubious to promising orbit the three women, including a welcome appearance by Norman Lloyd as an elderly hospital patient who interacts with Maggie. Rose's ex-coworker Simon is more than a throwaway love interest, and demonstrates the effort required to prod Rose into genuinely believing she deserves a good partner rather than just another pair of shoes.
In Her Shoes features closets full of footwear, but is also stocked full of substance.
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The opening segment is set in London of the 1920s. The wealthy Charles, Marquess of Frinton (Rex Harrison) of the British Foreign Office purchases a brand new yellow Rolls-Royce as an anniversary gift for his wife Eloise (Jeanne Moreau). He is looking forward to fielding the favourite horse at Ascot's Gold Cup, but Eloise is having an affair with diplomat John Fane (Edmund Purdom).
The second and longest story is set in Italy's Genoa area in the 1930s. Mafioso Paolo Maltese (George C. Scott) buys the Rolls-Royce when his moll Mae Jenkins (Shirley MacLaine) falls in love with it. She has no appreciation for culture, but gigolo tourist photographer Stefano (Alain Delon) catches her attention. When Paolo is called back to the United States, Mae and Stefano pursue an affair under the watchful eye of Paolo's right-hand man Joey Friedlander (Art Carney).
The final instalment starts in Italy near the border with Yugoslavia in 1941. Wealthy and influential American widow Gerda Millett (Ingrid Bergman) purchases the aging Rolls-Royce to drive into troubled Yugoslavia and meet the newly installed leader. Partisan Yugoslav commander Davich (Omar Sharif) is aware the Nazis are about to invade his country, and spots an opportunity to slip across the border in the vehicle's trunk.
A British MGM studios production, The Yellow Rolls-Royce labours away with plenty of verbiage yielding relatively limited impact. Writer Terence Rattigan demonstrates a propensity for long paragraphs of irrelevant dialogue, and despite the short length of each segment, the film gets bogged down in long scenes digging away at the obvious. To compensate, director Anthony Asquith makes good use of scenic European locations, and when all else fails, the yellow Rolls-Royce itself adds elegance to any frame.As expected the format reveals interesting ideas beset by insufficient evolution. The third chapter is energized by the World War Two context and carries the most promise as a potential long-form drama. Finally the Rolls-Royce is put to use for something other than discrete love-making, as Ingrid Bergman's Gerda descends from haughty pretensions and helps partisans re-group in the mountains.
The middle story is the longest, occupying half the two hours of running time, but remains in middling territory. Shirley MacLaine tries hard as the American hat-check girl and a fish out of water in Italy, Alain Delon the only piece of culture she is interested in. George C. Scott over-cooks his mafia boss into a cartoon character. Art Carney is more circumspect as the aging deputy and driver.
The first story is the weakest, all pomp and circumstance with Rex Harrison in his theatrical element. Asquith stages a lavish banquet then enjoys the Ascot surroundings, leaving limited room for the central illicit love affair.
The common themes across the three chapters include secretive love affairs and characters exposed to both stark realities and trajectory-changing revelations. The Yellow Rolls-Royce is gracefully staid, and perhaps unsurprisingly, never moves out of third gear.
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In a suburb of Columbus, Ohio, Secret Service Agent Doug Chesnic (Nicolas Cage) cannot wait for the end of his three year stint in charge of security for former First Lady Tess Carlisle (Shirley MacLaine). But to his surprise she demands his return for another three years, and he reluctantly agrees. Tess is popular with the public but generally a recluse, although she now starts venturing out more often, including to attend an opera.
But her greatest joy is treating Doug and his team like her personal servants, ordering them to perform menial tasks or sending them into a frenzy by escaping their supervision with her loyal driver Earl (Austin Pendleton). After several showdowns Doug and Tess arrive at a truce, but a shock awaits.
Directed and co-written by Hugh Wilson, Guarding Tess features a flimsy and underdeveloped premise, essentially one idea refusing to evolve. For more than an hour Doug and Tess circle the same drain, as she tests his limits with mean behaviour while he fulminates but then obliges.
Eventually Wilson works his way to Tess expressing oblique references to her regrets as a parent and Doug acknowledging his failed marriage, both wholly inadequate explanations for her haughty nastiness and his docile acquiescence. Then the script chucks away all the human-centred dramedy in favour of a poorly conceived out-of-nowhere kidnapping plot.
MacLaine and Cage do their best but cannot overcome a witless script floundering between bland humour and amateur psychology about lonely people seeking any relationship they can find. Instead of injecting some spirit, the secondary characters are non-entities. Doug has a team of support agents and Tess has a house full of servants, and not one of them is provided with a personality beyond cartoonish representations.
Guarding Tess is a duty best abandoned.
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