Showing posts with label Shirley MacLaine. Show all posts
Showing posts with label Shirley MacLaine. Show all posts

Wednesday, 1 July 2026

Movie Review: Postcards From The Edge (1990)


Genre: Dramedy  
Director: Mike Nichols  
Starring: Meryl Streep, Shirley MacLaine, Gene Hackman, Dennis Quaid, Richard Dreyfuss  
Running Time: 101 minutes  

Synopsis: Movie actress Suzanne Vale (Meryl Streep) is abusing drugs, and is eventually checked into rehab by her mother, Hollywood legend Doris Mann (Shirley MacLaine). After recovering, Suzanne moves in with her mother as an insurance requirement as she tries to rebuild her career with an unbecoming role in a low-budget film. She has to deal with her mother's alcoholic narcissism and a deceptive suitor (Dennis Quaid), but finds support from a caring director (Gene Hackman) and an emergency room surgeon (Richard Dreyfuss).

What Works Well: This adaptation of Carrie Fisher's semi-autobiographical book features two reliably excellent performances from Meryl Streep and Shirley MacLaine. The focus is on stardom-induced self-absorption translating into unintentional pressure passed down from mother to daughter, amplifying dysfunction in both generations. While the dramatic moments are genuine, director Mike Nichols also has fun portraying quirky on-set dynamics as Suzanne navigates the idiosyncrasies of directors and producers.

What Does Not Work As Well: A nonchalant attitude results in frivolous treatment of important topics, including addiction, parenting, workplace toxicity, and exploitive men. The absence of meaningful secondary characters and glorified cameos from Gene Hackman and Richard Dreyfus add to an overall sense of dismissiveness. Some bizarre narrative choices result in three songs being performed in full, betraying a lack of conviction in the core strength of the material.

Key Quote:
Doris: I was such an awful mother... what if you had a mother like Joan Crawford or Lana Turner?
Suzanne: These are the options? You, Joan, or Lana?



All Ace Black Movie Blog reviews are here.

Sunday, 1 February 2026

Movie Review: Rumor Has It... (2005)


Genre: Dramedy  
Director: Rob Reiner  
Starring: Jennifer Aniston, Kevin Costner, Mark Ruffalo, Shirley MacLaine, Richard Jenkins, Mena Suvari  
Running Time: 96 minutes  

Synopsis: Sarah (Jennifer Aniston) is having second thoughts about her engagement to Jeff (Mark Ruffalo). They travel to Pasadena to attend the wedding of her sister Annie (Mena Suvari), and the family gathering reminds Sarah she is a misfit and has nothing in common with her father Earl (Richard Jenkins). Then Sarah starts piecing together clues suggesting her grandmother Katherine (Shirley MacLaine) was the inspiration for Mrs. Robinson in The Graduate, and she tracks down Beau Burroughs (Kevin Costner), the potential real-life Benjamin Braddock.

What Works Well: This is an engaging-enough hybrid comedy-drama-romance about family secrets, fitting-in, flexible definitions of love, the enduring across-the-years bond between mother and daughter, and grey zones between fact and fiction. Jennifer Aniston capably carries the load as Sarah is caught in an emotional storm of internal doubt, and she is surrounded by a quality cast with Shirley MacLaine a particular delight. Director Rob Reiner delivers a polished look and brisk pacing.

What Does Not Work As Well: The chemistry-free romance that develops between Sarah and Beau, after she suspects he may be her father, can only be described as icky and made worse by her betrayal of fiancé Jeff. The script frequently lacks zing, exemplified by reaching for an undeserved happy ending while ignoring the bittersweet "now what" uncertainty of The Graduate's resolution.

Key Quote:
Sarah: Maybe every girl in my family has to sleep with you.
Beau: I don't know if they have to, but they certainly have.



All Ace Black Movie Blog reviews are here.

Saturday, 19 July 2025

Movie Review: Two For The Seesaw (1962)


Genre: Romantic Drama  
Director: Robert Wise  
Running Time: 119 minutes  

Synopsis: Nebraska lawyer Jerry Ryan (Robert Mitchum) is aimlessly hanging around New York, depressed and almost penniless after his wife Tess decided to divorce him. He spots kind-hearted but sassy dancer and seamstress Gittel Mosca (Shirley MacLaine) at a social event and initiates a turbulent romance. After securing a job at a law firm, Jerry leases a dance studio for Gittel, but also insists that she continuously demonstrate a need for his presence. She is wary, since Jerry is still emotionally attached to Tess.

What Works Well: This stage play adaptation boldly strides into often unspoken and complex dynamics within romantic entanglements. Jerry and Gittel spar over the need to feel needed, ghosts of relationships past, economic and emotional dependency, hurtful actions as poor substitutes for robust communications, and navigating unknown pathways towards maturity. Despite the passion, both Robert Mitchum and Shirley MacLaine avoid histrionics, guided by the steady hand of Robert Wise and accompanied by an evocatively jazzy AndrĂ© Previn music score.

What Does Not Work As Well: Too long by a good half hour, this is an exhaustingly talkative trudge, stage-bound and mostly confined to a couple of claustrophobic apartments. Despite not holding back on expressing themselves, Jerry and Gittel overstay their welcome, their initially refreshing honesty trapped into repetitive beats and eventually ripening into mold.

Key Quote:
Gittel (to Jerry): You do all the giving. What I have to give, you don't want. And what I want, you can't give. 



All Ace Black Movie Blog reviews are here.

Sunday, 5 May 2024

Movie Review: The Children's Hour (1961)


Genre: Drama  
Director: William Wyler  
Starring: Audrey Hepburn, Shirley MacLaine, James Garner, Fay Bainter, Miriam Hopkins  
Running Time: 107 minutes  

Synopsis: Best friends since age 17, teachers Karen Wright (Audrey Hepburn) and Martha Dobie (Shirley MacLaine) now run a private boarding school for girls. Martha has always harboured a secret crush on Karen, and resents her friend's impending marriage to Doctor Joe Cardin (James Garner). Martha's aunt Lily (Miriam Hopkins) and troublesome student Mary (Karen Balkin) both have reasons to gossip about the relationship between Karen and Martha, and Mary's grandmother Amelia (Fay Bainter) expertly spreads the harmful rumours. 

What Works Well: Lilian Hellman co-wrote the script based on her own play (inspired by actual events), and William Wyler directs with an unflinching commitment to the darkest corners of the human soul. Karen loves Joe and Martha loves Karen, but their good intentions are easily victimized by malevolence. Negativity invades the school sanctuary through the evil Mary (one of the screen's nastiest children); the selfish Aunt Lily (still delusional about a stage career); and the influential grandma Amelia (wielding community power like a judge and jury). The final act displays the fearsome destructive capacity of group think when combined with prejudice.

What Does Not Work As Well: The theatrical origins are clear, and translate to a limited number of sets, longish scenes, and unconstrained performances, with Audrey Hepburn alone in maintaining a measure of control.

Conclusion: Hatred thrives in empty chambers.



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Monday, 18 July 2022

Movie Review: In Her Shoes (2005)

A sibling drama with hints of romance and humour, In Her Shoes overcomes some obvious plotting with textured storytelling and excellent performances. 

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.



All Ace Black Movie Blog reviews are here.

Sunday, 13 March 2022

Movie Review: The Yellow Rolls-Royce (1964)

A star-infused anthology drama, The Yellow Rolls-Royce features three distinct European-set adventures linked by one vehicle. The stories toil towards stodgy adequacy.

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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Thursday, 1 July 2021

Movie Review: Guarding Tess (1994)

A tepid comedy about lonely people seeking human connections, Guarding Tess flounders for a purpose before deflating into an incongruous final act.

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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Monday, 12 December 2016

Movie Review: Sweet Charity (1969)


An overblown musical, Sweet Charity emits occasional sparks but never ignites.

In New York City, Charity Hope Valentine (Shirley MacLaine) is a dance hostess in a sleazy joint along with her friends Nickie (Chita Rivera) and Helene (Paula Kelly). Charity still dreams of finding true love, and after her latest no-good boyfriend literally dumps her into the park lake, she stumbles into a dreamy one-off evening with movie star Vittorio Vitale (Ricardo Montalban). Charity tries and fails to land a respectable office job, but instead finds an unlikely romance with insurance risk assessor Oscar Lindquist (John McMartin) after the pair are stuck together in an elevator. But finding long-term love and happiness will not be an easy quest.

The first film directed by Bob Fosse, Sweet Charity is an adaptation of the 1966 stage musical. What works on stage for the most part stumbles on the screen, with the story spread way too thin to occupy the 2 hours and 30 minutes of running time, the songs resoundingly average, and only the better dance numbers providing an occasional lift. The Neil Simon story offers some moments of comedy, but the general sense is of rampant overacting in a bloated production incapable of trimming the fat.

The highlights are few but sharp: the dancing girls sing and dance to the seductive (Hey) Big Spender; the entire Rich Man's Frug dance sequence at the Pompeii Club is spectacular; Charity belts out If They Could See Me Now and dances up a storm in Vittorio's pad; then along with Nickie and Helene she performs There's Got To Be Something Better Than This, longing to escape a life of dancing with disgusting neanderthals. But for every good musical interlude there is an equivalent dud, including Sammy Davis Jr. performing a mess of a song as a pseudo preacher, and the owner of the nightclub singing the quite dreadful I Love To Cry At Weddings.

Fosse's direction never stops pointing to itself. His favourite childish tricks include zooming into an unfocused shot and zooming out again into a different scene, and the ever handy freeze-frame. The film simply does not carry enough weight or drama to justify stylistic antics, with Charity's fairy tale pursuit of true love beyond juvenile in its simplicity.

Shirley MacLaine is game and through sheer energy bulldozes her way through the film, unapologetic in her theatricality and willing Charity along in her naĂŻve quest for any better job and the love of any man. The supporting cast alternates between bland and irritating, John McMartin contributing plenty of nothing to the role of blank insurance risk assessor Oscar. Montalban and Davis cash their cheques for effectively playing themselves.

Sweet Charity is a mediocre mix of admirable glitzy dancing, average music, and a mundane, unnecessarily protracted story.






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Saturday, 10 September 2016

Movie Review: Irma La Douce (1963)


A grand comedy and romance, Irma La Douce delves into the business of working girls and finds good laughs while refreshingly avoiding any hints of moralizing.

In Paris, honest police officer Nestor Patou (Jack Lemmon) is newly assigned to the Casanova red light district, where prostitutes rule the street. The cafe run by the colourful Moustache (Lou Jacobi) is the local hangout for the girls and their pimps. Irma La Douce (Shirley MacLaine), famous for her green stockings and small pet dog, is the most popular of the girls, although she is treated roughly by her pimp Hippolyte (Bruce Yarnell).

The well-meaning but naive Nestor quickly gets himself into trouble by instigating a raid that disrupts the happy balance between the business of prostitution and police kick-backs. He is fired from the force, and after tangling with Hippolyte pursues a friendship with Irma that becomes a romance. But Nestor cannot stand the idea of his girl working as a prostitute, so with Moustache's help he adopts the secret disguise and persona of a wealthy British upper crust gentleman known only as Lord X, to richly pay for monopolizing Irma's time and eliminate the need for other customers. But Nestor is actually broke, so his already complex plan is bound to backfire in unexpected ways.

Directed by Billy Wilder, Irma La Douce is colourful and jovial, but also overlong and stretched too thin for the available material. The decision to strip the music out of the French stage musical while still aiming for 147 minutes of running time is curious. Wilder gets away with it thanks to a sharp script co-written with regular collaborator I.A.L Diamond, but a good 25 minutes could have been stripped off with no loss in quality.

This takes nothing away from what makes it onto the screen. The film is hugely enjoyable, with both Jack Lemmon and Shirley MacLaine in fine form. The stars previously teamed with Wilder on The Apartment and quickly slip into a zone of comic comfort. Lemmon gets to play two roles as Nestor Patou and Lord X, and in the guise of the latter he gets an opportunity to finally drop the befuddled everyman routine and spreads his wings as the quirky made-up English Lord. To make the point that the hapless remain hapless in any disguise, Patou financially drowns into further debt as the Lord, before finding himself accused of an unlikely murder.

MacLaine is steady as Irma, a grounded prostitute with a pragmatic outlook on her lot in life. Neither a whore with a heart of gold nor a caustic messed-up fallen woman, Irma is a businesswoman who is good at what she does and looks for opportunities to maximize profit while improving work conditions and take-home benefits.

The big bonus surprise of Irma La Douce is Lou Jacobi. A reliable source of laughs, he handles all the heavy lifting in the main supporting role of Moustache. The cafe owner with a chequered life history featuring numerous other professions, Moustache keeps his tall tales to the point, and all his sharp recollections end with the trademark but that's another story. For a long film, the rest of the supporting cast is poorly defined and listless.

Wilder breaks away from stage constraints and keeps the action moving between several locations (all unfortunately in the studio). The sets include the street, the cafe, a Casanova hotel room, a police station, Irma's apartment, a bustling farmer's market and a walkway by the Seine.

Irma La Douce pushes the envelope of what was acceptable in 1963 in terms of portraying sexuality and eroticism in a big budget Hollywood production. The business of sex is presented as a natural part of Parisian society, and in addition to not judging the prostitutes, MacLaine (in a role originally intended for Marilyn Monroe) goes to bed naked and slips in and out of a succession of revealing outfits and lingerie. Lemmon is much more clumsy, but also gets to undress.

Humorous, vivid and just a tad overblown, Irma La Douce is an amusing romp through the hazards of an unlikely romance.






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Sunday, 22 May 2016

Movie Review: The Turning Point (1977)


A melodrama in the world of ballet, The Turning Point has little to say, repeats itself endlessly, and then settles for a series of excruciatingly tiresome ballet-on-film sequences.

The American Ballet Company arrives in Oklahoma City on a tour stop, prompting a reunion between principle dancer Emma Jacklin (Anne Bancroft) and her childhood friend DeeDee Rogers (Shirley MacLaine). DeeDee may or may not have been good enough to compete for top roles with Emma, but she settled for a life of domesticity after getting pregnant and marrying fellow dancer Wayne (Tom Skerritt). While Emma achieved the pinnacle of ballet stardom, DeeDee and Wayne became dance teachers and raised three children, including the talented Emilia (Leslie Browne).

DeeDee never came to terms with her decision to walk away from the potential world of glamour, but is pleased when Emma spots the potential in Emilia and invites her to join the Company. DeeDee relocates to New York as Emilia's career begins to take off, leading to continued friction between DeeDee and Emma, whose own career is fading fast. Meanwhile Emilia begins to discover what it takes to get to the top, and starts a relationship with the charismatic Russian dancer Yuri (Mikhail Baryshnikov).

Directed by Herbert Ross and loosely based on the true-life story of Leslie Browne (who effectively plays herself), the goddaughter of Ross' wife Nora Kaye, The Turning Point holds some interest through the dance career versus family debate, but the conflict is set early and stagnates quickly. The characters of DeeDee and Emma are who they are; they are introduced in the first 20 minutes and never evolve. DeeDee grinds on, endlessly bringing up the past and unable to moved beyond her own decisions from decades prior. Emma is the steely-eyed diva who seized her chance and never looked back. Despite the best efforts of Shirley MacLaine and Anne Bancroft, over two hours the women fail to become any more engaging.

Which leaves Ross with plenty of time to kill, and he defaults to filming ballet sequence after ballet sequence. Watching ballet in the theatre is sufficient drudgery, but the live experience at least adds some drama. Watching ballet on film kills any narrative momentum dead in its tracks, and The Turning Point is padded with a solid 30 minutes of stage-bound performances that have nothing to do with the story, complete with on-screen captions introducing the piece, the music and the choreography. The film morphs into an education and attempted celebration of an art form for ballet fans, leaving behind everyone else. MacLaine and Bancroft are more often than not reduced to painfully fake reaction shots.

In a moment of mass imbecility, somehow the film garnered an incredible eleven Academy Award nominations, the most egregious going to the supporting performances by Browne (wooden) and Baryshnikov (who dances a lot but does not act all) for playing versions of themselves and doing little else. The writing nomination is also beyond belief, the Arthur Laurents script unable to create anything resembling an arc for any of the characters, and resorting to a butt-slapping cat fight between middle aged women. Fortunately the Academy came to its collective senses in time and the film was comprehensively and deservedly shut-out on Awards night.

In MacLaine and Bancroft The Turning Point has classy actresses in the lead roles doing their best. They are thoroughly smothered by the tutus, the ballet shoes and the uninspired drama stretching in vain to justify a cinematic experience.






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Monday, 25 May 2015

Movie Review: Terms Of Endearment (1983)


A family life drama-comedy with spectacular acting performances by a dream cast, Terms Of Endearment is a masterpiece of authentic emotions.

In Texas, Aurora Greenway (Shirley MacLaine) has always been slightly paranoid and definitely overprotective of her only daughter Emma. Aurora was widowed at a young age, leaving her relationship with Emma as the one true connection in her life. When Emma (Debra Winger) grows into a young woman and decides to marry school teacher Flap Horton (Jeff Daniels), Aurora certainly does not approve, believing Flap to be unworthy. Around the same time, retired astronaut Garrett Breedlove (Jack Nicholson) moves into the house next door. A party-loving, womanizing and free-spirited bachelor, Garrett is a man denying his age.

Emma and Flap push ahead and get married anyway, and eventually start a family and move to Des Moines. As the years pass Aurora remains in close touch with her daughter, the two sharing their lives over frequent phone calls, and despite plenty of arguments and no shortage of agitation, their love and commitment to each other never wavers. Seeking physical closeness, Aurora finally works up the courage to start a relationship with Garrett, about 15 years after he became her neighbour. With three kids to raise and Flap's limited earning power causing a financial burden, Emma's marriage starts to seriously fray, and both she and Flap are subjected to extramarital temptations. The threat of another relocation and a serious illness are yet to come.

Directed and written by James L. Brooks in his directorial debut, and based on the Larry McMurtry book, Terms Of Endearment is a perfectly polished gem. For the full 131 minutes, not a scene is wasted, Brooks trusting his audience to keep up as the film gallops through the years using short, often funny and frequently poignant scenes. Chronicling the bond between Aurora and Emma from birth and through about 40 years of life, Brooks nails the ups and downs that define the unique cycles of frustration and happiness between mother and daughter, with undying love providing the sturdy foundation upon which two lives are lived.

Brooks' singular achievement is in creating uniquely memorable characters and then treating them with utmost realism. Aurora, Emma and Garrett are a simply unforgettable trio, three people living life on their own stubborn terms but yet behaving fully within the normal rules where selfishness, sacrifice and life's surprises require a steady stream of critical decisions. There are no heroics in Terms Of Endearment; just happiness and heartache generated by the life's little successes and failures.

And because laughs and tears punctuate life's milestones, Brooks includes plenty of both. The emotions are always there, but even at the darkest moments they rarely veer towards exaggerated agitation. In a peak moment of frustration Aurora does let loose at a hospital nurse station, but it's a scene that is equally funny and heartbreaking, capturing a devoted mother willing to move mountains for her daughter.

Terms Of Endearment features astounding acting from the three principals. Shirley MacLaine and Jack Nicholson deliver some of their best work in their long and celebrated careers. MacLaine won the Best Actress Academy Award for what may have been her last great performance, bringing to life Aurora as a proud woman of the South dealing with the changing times and her own evolving needs. Nicholson took a step back from the madness and murderous urges that had began to define him after The Shining and The Postman Always Rings Twice, and nabbed the Best Supporting Actor Academy Award as Garrett the astronaut, a man determined to turn his past celebrity into a life of irresponsible pleasure.

And Emma was undoubtedly Debra Winger's finest on-screen moment. Winger celebrates Emma as a feisty woman full of love, laughter and a singular determination to meet life on her own terms while forging friendships, sharing every moment with Aurora and adoring and tolerating Flap in equal measures. It's a performance for the ages, and Winger was also nominated as Best Actress but lost out to MacLaine.

In addition to Daniels, Danny DeVito as Aurora's long-time admirer and John Lithgow as Emma's amorous banker round out the cast.

Towards the end of Terms Of Endearment, Emma and Aurora share a moment. It's a brief locking of the eyes, without a word being spoken, Winger and MacLaine pouring their characters into a few seconds representing a lifelong bond, a breathtaking ending, a sorrowful beginning, a heartfelt thank you, and the meaning of love itself. It's an unforgettable instant in an enduring treasure of a movie.






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Monday, 20 April 2015

Movie Review: Bewitched (2005)


A stale attempt to revive a brand from a bygone era, Bewitched makes a feeble effort to uncover new ideas, and finds none.

Jack Wyatt (Will Ferrell) is an egotistical movie star going through a bad patch. In an attempt to revive his career he agrees to star as the husband Darrin in a revival of the classic 1960s television sitcom Bewitched. He sets out to find an actress to play the key role of Samantha, the cute housewife witch. Isabel Bigelow (Nicole Kidman) is a real witch tired of using her bag of tricks to get through life. Despite the protests of her father Nigel (Michael Caine) she wants to be normal, find a career, a man, and settle down. Jack bumps into Isabel at a bookstore. Not knowing that she is a witch he convinces her to audition, and she handily wins the role of Samantha.

With veteran actress Iris Smythson (Shirley MacLaine) cast in the role of Samantha's mom Endora, Jack conceives of the show as being all about him, and contrives to barely give Samantha any speaking roles. Test ratings are miserable, but the audience reacts well to Isabel, and she demands a greater role and more respect. At the same time, Jack and Isabel start to fall in love.

Despite the acting talent involved, Bewitched is remarkably thin on the ground and offers nothing beyond its flimsy premise. There is not enough here to even qualify as a romantic comedy, that most undemanding of sub-genres. The laughs are intermittent at best, Ferrell's childish overacting coming across as more obtuse than funny. The magic is limited and the chemistry non-existent.

Director Nora Ephron, who co-wrote the script, registers her own career low point, many miles away from the fresh and witty material that earned her deserved plaudits for writing When Harry Met Sally... and writing and directing Sleepless In Seattle. Here she displays an abject bankruptcy of ideas both in the script and behind the camera, and the film just dies a wretched death mired in predictability.

Will Ferrell is at his worst, over emoting to distraction, while Nicole Kidman quickly runs out of tricks as the naive but well-meaning witch. Michael Caine and Shirley MacLaine are wasted as unnecessary parodies of their late-career screen personas. Steve Carell makes a late appearance and adds an unhelpful dose of lunacy.

Bewitched causes a nose twitch, for all the wrong reasons.






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