The Graduate XXX

The Graduate XXX
2011 (exact date unknown)
Cinnamon Productions
Porn, Historical, Comedy, Romance
Download
C-

Needless to say, when I reviewed the book (http://rereadingeverybookiown.blogspot.com/2012/07/graduate.html), I did not imagine  that three years later I would be giving a porn parody of it the exact same grade.  The flaws are very different, but let me first talk about what I like.  The movie is easily the funniest of the three Anthony Rosano parodies I own, much of the humor coming out of juxtaposition, whether the '60s look with a more modern sensibility, or the way that lines from the original movie appear in a hypersexual context.  (Mrs. Robinson still denies she's seducing Ben even as she gives him a blowjob!)  There's a cheesy montage of Ben and Elaine falling in love, paired with heavy-handedly suggestive visuals and no dialogue, and then later they claim to have exchanged important personal information during "the montage."  Also, the music is great, not just the instrumentals but the Simon & Garfunkel satires.  ("A Hazy Shade of Winter" somehow becomes scolding of Ben for not washing his fingers.)

The three leads are well cast, not just Rosano as nervous Benjamin Bradcock (ha ha) and India Summer as posh Mrs. Robinson (although the movie gets very lampshady when she says she's "twice his age"), but also Raven Alexis as a generally serious Elaine.  Both fathers/husbands (James Bartholet and Herschel Savage), although their hair is grayed up in a distractingly fake way, do well with their roles.  Ron Jeremy, as Mr. Braverman/ Bus Driver, has a funny bit about "plastic novelties."  Rod Fontana (Skinner of Sex Files) has a good scene as the Night Clerk playing deadpanly off of Rosano, but I could've completely done without the return of Evan Stone, here playing a creepy Bouncer.

Which brings me to what I don't like about the movie, which is, as with other porn parodies, unfortunately most of the sex.  (I thought at one point I might wind up a porn addict, but I was apparently buying porn for the wrong reasons.)  The sex here is mostly BDSM, which is definitely not my cup of tea, although at least it's not overly violent here.  I suppose it could be said that it's used to reveal Mrs. Robinson's character, that she's a bitch who secretly wants to be dominated, but then why do we also get Stone bullying the poor stripper?  As for the more vanilla scenes, the threesome earlier on isn't bad, but we don't find out until after the fact that the man is Elaine's cheating boyfriend.  (Lexi Belle, who was Sam's friend in the Who's the Boss parody, is one of the two baby-voiced coeds.)  The Ben and Elaine scene is the only sex I actually liked, especially since it pays off in a surreal moment when her boyfriend shows up and she claims Ben is just an old friend of the family, when it is extremely obvious they've just had sex.

In fact, quite a bit of the movie is surreal, to the point that I was half seriously considering using a "fantasy" tag.  Characters can suddenly arrive at lightning speed, like they've been Scott-Pilgrimized.  And for no reason at all, both sets of parents show up on the bus when Ben & Elaine run away.  They're not angry, they're actually quite cheerful, like this is all some Candid Camera stunt.  It makes plot holes like Mrs. Robinson's consequence-less seduction of Ben's mother after he falls for Elaine perhaps not matter.  Maybe this whole thing is just meant to be a drug trip, since there are scenes of drug use at the frat house (Delta Kappa Smegma, hee hee) of the boyfriend (Parker Cameron Stevenson, ho ho).  Or maybe the source material (both book and movie) never made much sense to begin with.

The Princess and the Frog

The Princess and the Frog
December 11, 2009
Disney
Children's, Romance, Comedy, Fantasy, Historical
DVD
B-

Partially based on E.D. Baker's The Frog Princess, which I can't remember if I've read, this is a Disney Princess movie with a difference, well, many differences.  It has a relatively modern and real setting, New Orleans in the 1920s.  (The prologue is set the day Wilson is elected President, but I'm guessing this is 1912 rather than '16.)  The "princess" is an African-American waitress who dreams of opening her own restaurant.  She does get her prince, but he's not her main goal.  And, yes, both of them are turned into frogs, because of voodoo.

Co-writers/directors Ron Clements and John Musker also did Aladdin and, while this isn't as dazzling, it is a worthy successor as a "not a typical Disney Princess movie."  There's no razzle-dazzle performance on the level of Robin Williams's genie, although the voicework and acting are generally solid.  The two biggest standouts are Keith David as villain Dr. Facilier and Jenifer Lewis as wise-woman Mama Odie, who, in their songs especially, show the dark and light sides of voodoo, and of changing your life.  The use of light and color is sometimes impressive.  And a couple of the characters, particularly Charlotte and Ray, end up having more substance than expected.  I would say the biggest flaw in the movie is pacing, too many stops and starts.  Otherwise, I would probably go with a B, as with Aladdin.

Phil Proctor did additional voices in Aladdin well.  (And, yes, this is the Firesign Theatre Phil Proctor, who co-wrote Americathon.)

Since I've gotten more 21st-century films in recent months, and since there are more films from 2000 to '09 than there were in, for instance, the 1970s, I've decided to split off the 2010s, unlike with my book blog.

Pirate Radio

Pirate Radio (AKA The Boat That Rocked)
April 1, 2009
Universal etc.
Comedy, Musical, Historical
DVD
C+

I'm ambivalent about this movie, so let's get the negatives out of the way first.  This is the fictional, if inspired by true events, story of, yes, a pirate radio station in the days when the BBC did not like to play rock or pop.  Specifically, it's 1966-67, and as such I recognize that it's a period piece and this was not the most feminist of times or places.  That said, I feel that the way that sex and women are presented is excessively retrograde.  The next British movie I'll review, In the Loop, is not really feminist either, but it does treat the women as people with believable motivations, and there is nothing as creepy as the scene where a man tries to trick his partner into deflowering another man.  (Perhaps he's also trying to trick the other man, since it seems unlikely they would've gotten away with it, but this makes the scene no less creepy.)  Considering that writer-director Richard Curtis did The Tall Guy about twenty years earlier, it's fair to expect better than this.

The movie was released in a longer version (with the "boat" title) on the date I've listed, and perhaps there are fewer dangling threads in that.  To take a minor example, what the heck does Thick Kevin do on the boat?  Everyone else has a clear job but he just hangs out.  To take a more significant example, how does Philip Seymour Hoffman, as the "spirit of rock" character the Count, manage to survive after the boat sinks, while the Swedish crew disappears without comment?

The soundtrack and costumes are good at least (although the former is sometimes anachronistic), and there are some enjoyable performances, most notably Bill Nighy as Quentin, whose every line delivery and movement is perfect.  I might've rated this higher at the time, although what bothers me about it now bothered me then.

There are some Harry Potter connections here, with ex-spouses Kenneth "Lockhart" Branagh and Emma "Trelawney" Thompson playing respectively the main villain and the mother of the character closest to being the film's main character.  David Sterne was a Ministry Wizard in Harry Potter and the Goblet of Fire and is Marianne's Captain here.  Rhys Ifans, who's Gavin, would be Xenophilius Lovegood in Deathly Hallows, Part I, while Nighy would be Minister Rufus Scrimgeour.

Tom Brooke played a Production Assistant in Bridget Jones 2 but is more memorable here as Thick Kevin.  Kirsty Mather, who's John's Boat Girl, had recently been a Hen in Mamma Mia!  Chris O'Dowd, who's sweet and goofy as Simon (the most-betrayed-by-a-woman character) would be the love interest Rhodes in Bridesmaids.

Kinsey

Kinsey
November 12, 2004
Fox etc.
Drama, Historical
VHS (the last in my movie collection)
B-

While I think  Liam Neeson, as the title character, and Laura Linney, as Clara "Mac" McMillen Kinsey, give great performances here, aging convincingly from their 20s into their 50s or 60s, this movie is too depressing (especially in the second half) for me to give it a higher grade.  Furthermore, while the passage of time (not just the characters aging, but various period details) is well done, there is a feeling that the movie tries to take on too much, tries to condense one complex life, and the lives related to it, into two hours.  Still, I have never seen a Hollywood film address such issues as bisexuality and polyamory somewhat sympathetically.  On the other hand, the film is appropriately clinical in its approach to sex, so even the nudity and simulated sex acts are not particularly arousing.  I actually thought the sexiest moment is when Alfred and Mac try not to let his parents overhear them being silly in bed.

Nearly 30 years after The Big Bus, Lynn Redgrave is almost unrecognizable in the small but pivotal role of Final Interview Subject.  And Don Sparks, the Prince in 1978's Fairy Tales, is somewhat recognizable as the Middle-Aged Businessman.  Kate Jennings Grant, who was Kennedy in The Object of My Affection, is Marjorie Hartford here.  Joe Badalucco, who was Construction Foreman in Two Weeks Notice, is Radio Repairman here.  Heather Goldenhersh was Sheila in School of Rock and is Martha Pomeroy here.

Not the usual triangle

Down with Love

Down with Love
May 16, 2003
Fox
Comedy, Romance, Historical, Musical
DVD
B+

This was a box-office disappointment and there are still people who loathe it, but I find it almost as delightful as I did a dozen years ago.  It is both an over-the-top loving parody of early '60s "sex comedies" and an early 21st-century look at gender roles.  It is a rom-com but it puts surprising spins on the conventions, new and old, as with the moment when it seems like the movie could end but there's another twenty minutes or so.  The dialogue is suggestive and layered in other ways, and there's a lot of physical humor, not just slapstick but things like the stylized ways people walk and smile.

Renée Zellweger and Ewan McGregor are cast somewhat against both type and archetype.  That is, this is not the usual McGregor role and he's little like Rock Hudson.  Ditto for Zellweger and Doris Day.  The two supporting roles, played by Sarah Paulson and David Hyde Pierce, however, are dead on Paula Prentiss and Tony Randall, although again with little twists and surprises.  (That they're both queer in real life adds yet another layer, as in the Japanese restaurant scene.)  Randall himself, then 83 and a year away from death, has a little gem of a role as the head of the publishing company where the book of the title is ignored and then celebrated.  "Down with Love" is also a song, and music is such an integral part of the movie that I think this deserves the "musical" tag, even if not strictly speaking a musical.

The film is especially notable for the look, as seen in set design and costumes, but also in such touches as a Mad Magazine cover.  It all looks like a slightly hyped-up version of what you would've seen in a 1962 film, from opening credits to closing.  There's also creative (and suggestive) use of split-screen.  If I can't rate the movie higher, it's that it hasn't aged quite as well as I hoped.  I still really enjoy it, but I don't love it as much after multiple viewings.  And it doesn't seem quite so innovative now as it did then.

Just as he had in I Wanna Hold Your Hand, and many other appearances, Will Jordan plays Ed Sullivan.  Sarah Christine Smith was a Go-Go Dancer in Austin Powers #1 and is an Astronette here.  Turtle, who was Cult Member Jeff in Dude, Where's My Car?, plays a Beatnik here.

Holes

Holes
April 18, 2003
Disney
Comedy, Mystery, Historical, Romance
DVD
B

Based on one of the quirkiest children's novels ever, probably the quirkiest to win the Newbery Award, this film is a relatively faithful adaptation by Louis Sachar of his book.  My main quibble, which is more of an issue onscreen, is that not all the plot threads are tied together for the hero Stanley Yelnats IV.  The reader/viewer is shown the various time periods and clues, but he's not.  Yet he nonetheless has to solve the interlocking mysteries.

One of these periods is the Wild West of 100 or more years ago.  My other quibble is that the timeframe just doesn't work in terms of the Warden's family, unless her grandfather lives to be about 120.  Still, I thought that the scenes involving the interracial romance were among the best.  There are some surprising subjects in this movie, it being Disney and all.

The main subject though is friendship and family, and how they can get you through hard times.  Shia LaBeouf as Stanley and Khleo Thomas as Hector Zeroni are appealing and believable buddies.  And the other boys at Camp Green Lake (where there is no lake) are memorable.  Just about every character here is a "character," but it never gets to be too much, even when Henry Winkler (as Stanley Yelnats III) is singing about odor-free shoes.  And the soundtrack is pretty good, particularly the "Dig It" song by the Boys of D Tent.

Steve Kozlowski was Carmine Friend #1 in Good Will Hunting and is Lump here.  Siobhan Fallon Hogan, who plays Stanley's mother, would be the Birthing Teacher in Baby Mama, while Sigourney Weaver (playing the Warden here) would be Chaffee Bicknell there.  (She was Alvy's movie date back in Annie Hall.)

The Cat's Meow

The Cat's Meow
April 12, 2002
Lions Gate etc.
Historical, Mystery, Drama, Comedy
DVD
B-

I don't think it's just that this follows Gosford Park that makes me feel that it's a lesser film.  It doesn't quite work, although it's interesting.  Unlike Gosford, it's based on a real-life mystery, the death of producer Thomas Ince in 1924, possibly on board William Randolph Hearst's yacht.  The main characters are based on real people, notably Hearst, played by 59-year-old Edward Herrmann (who was one of the on-screen "swells" in Purple Rose of Cairo), and his long-term mistress Marion Davies, played quite well by Kirsten Dunst at 19.  Others in the cast include Eddie Izzard as Charlie Chaplin, Joanna Lumley as Elinor Glyn (who came up with the concept of "It" for sex appeal), and Jennifer Tilly as Louella Parsons.  I will say that the costumes, particularly "Lolly's," are much better than in Gosford, where they are either plain (for the servants) or genteelly bland.  The Hollywood setting helps.

Claudie Blakley is almost unrecognizable as Didi the flapper here, compared to her role of mousy but strong Mabel Nesbitt in Gosford.

Gosford Park

Gosford Park
January 18, 2002
USA Films etc.
Historical, Mystery, Drama, Comedy
DVD
B+

As with Monsoon Wedding, it takes awhile to sort out all the characters and their relationships in this movie, but fortunately this film holds up even better to repeat viewings.  Yes, it's a mystery, but the whodunnit is just one aspect of the intricate plot.  I also feel that the various threads are resolved satisfactorily, if usually not thoroughly.  The movie was directed and co-written by Robert Altman, so this "ensemble piece" aspect is not surprising.

The setting is a house party in 1932.  We get to know both "upstairs" and "downstairs," and how they sometimes overlap, sexually in particular.  I'm going to mostly just mention the people who are in other films of mine (some of them of course in the Harry Potter series), although they're by no means the only ones giving strong performances.  The closest to a heroine, and the one who solves the mystery, is Mary Maceachran, played by Kelly Macdonald with a soft Scottish burr and very observant eyes.

• Bob Balaban, who plays Morris Weissman, helped come up with the concept for the film and his character is the most an outsider, as a gay, Jewish Hollywood producer.
• Stephen Fry this time plays Inspector Thompson, the bumbling detective, who adds a more farcical element to the movie.  (Most of the rest of the humour is very dry.)
• Michael Gambon, as William McCordle, is very gruff, with none of the warmth or whimsy of his later role as Dumbledore #2.  (Of course, there are Potter fans who see him as just as gruff as Dumbledore.)
• Richard E. Grant, as George, spends a lot of the time sneering at people, but it works much better than when he was sneering at the Spice Girls as their manager.
• Tom Hollander, as Anthony Meredith, is the only happily married man in the movie, although he is worried about money throughout most of the story.  His role of the short and insecure man is not unlike his role in In the Loop at the other end of the decade.
• Jeremy Northam is understated but pivotal as Ivor Novello (the only real character), since he shows the importance of pop culture to "low-class" people, while the upper classes look down on him and it.  He also sings well as Novello.
• Maggie Smith, as Constance Trentham, not surprisingly comes closer to stealing the film than anyone does, making the most of her wonderful lines.  Yet there's a poignancy to her role, since she, too, worries about money.  (And, yes, there's a certain retroactive irony to McGonagall pleading with Dumbledore.)  She would of course go on to the television series Downton Abbey, which was created by one of the screenwriters here, Julian Fellowes.
• Geraldine Somerville as Louisa Stockbridge (the red-haired sister) is very different than in her saintly role as Harry Potter's dead mother.
• Sophie Thompson, as Dorothy, gives one of the messages of the movie, on the importance of loving someone, whether or not the love is returned.

Note:  John Atterbury, who plays Merriman, would be the portrait of Phineas Nigellus Black in Harry Potter and the Order of the Phoenix.

It's so exhausting training new servants.

Wet Hot American Summer

Wet Hot American Summer
January 23, 2001
Eureka Pictures
Comedy, Historical, Romance
DVD
B

This is a parody/homage to the "summer camp" movies of the late '70s and early '80s, from Meatballs on out.  Some of the time it does feel like one of those movies, but one that just somehow didn't get released for two decades.  (It's set in 1981.)  And other times it feels like a dark comedy, as seen particularly in the "going to town" montage.  Then there are the very not '80s touches, like the gay wedding.  Not everything works in the movie, but enough does.  This go-round I was most impressed with the soundtrack, with no less than three title songs, although the best song is "Higher and Higher," which is used for the training montage.

The cast has many good performers, with the best of lot probably Paul Rudd, cast against "nice guy" type as Andy the good-looking "asshole."  Not only does he insult and cheat on his girlfriend, but he lets kids drown and throws witnesses out of a moving vehicle!  I was also of course quite fond of one couple, by then thirty-six-year-old Janeane Garfolo as Beth the camp director and forty-one-year-old David Hyde Pierce as Henry Newman the astrophysics professor.

Bradley Cooper, then 25, has an early role as Ben, the gay Drama counselor, while Amy Poehler (then 29) plays the overly critical Drama counselor Susie.  This time, Molly Shannon is Gail von Kleinenstein, the Arts & Crafts counselor going through a divorce.

Director/co-writer David Wain would also write and direct a couple other Paul Rudd movies I own, Wanderlust and They Came Together (the latter pairing Rudd with Poehler).  Co-writer Michael Showalter would also co-write TCT, but he doesn't seem to appear in it, as he does here, in the dual roles of Gerald "Coop" Cooperberg and Alan Shemper.  Peter Salett, who's Guitar Dude here, would be Manfreddie in Wanderlust.  Nina Hellman, who's Nancy here, would be a Protester there.  And Michael Ian Black, who plays Ben's boyfriend McKinley, would be Trevor in TCT.

Zak Orth was Mike in In & Out, is J.J. here, and would be David Newbert in Music and Lyrics.

The Wedding Singer

The Wedding Singer
February 13, 1998
New Line Cinema
Comedy, Romance, Historical
VHS
B

I'm not an Adam Sandler fan and I don't think this movie particularly captures the '80s, especially 1985.  (It's like they threw the decade into a blender, with JR's shooting here and Miami Vice there, and a soundtrack that sounds mostly like '83, admittedly not unlike Romy & Michele.)  And yet, this is one of the better rom-coms of its era, still holding up well, although more time has passed since '98 than there had between '98 and '85.

While not all the credit is due to 22-year-old but already very experienced Drew Barrymore (John's granddaughter), I do think the teaming of her and Sandler brings out his sweetness, which affects the whole movie.  By the time an entire planeload of strangers (including Billy Idol as himself) is rooting for Sandler's Robbie to win Barrymore's Julia away from her scummy fiance, you have to have a heart of stone (or at least an aversion to rom-coms) to not yourself tear up at the "Grow Old with You" song.

This is not to say that the movie doesn't have the usual tasteless Sandler humor.  (I could've done without the ass-grabbing slow-dance, especially since it includes pubescent-adult pairings.)  There are children (the youngest about four) and old people saying allegedly hilarious and outrageous things.  Many of the '80s jokes fall flat.  Still, there is enough to enjoy here that it's worth viewing, and re-viewing.

I want to give shout-outs to three supporting cast members.  Former Marcia Brady imitator Christine Taylor is almost unrecognizable but equally good as Julia's slutty but kind cousin Holly.  Alexis Arquette is fun as Robbie's friend and bandmate George (who idolizes Boy George).  Arquette was Dick in Threesome and in a way these films show part of the the queer timeline of his/her life, since the performer would transition to female around 2006.  The absolute best cameo in the movie is Steve Buscemi's  David Veltri, two scenes (one at the beginning and one at the end) that he absolutely steals.

Incredibly, 78-year-old Sid Newman, who plays Frank, was Boy on Trolley in 1944's Meet Me in St. Louis, so I guess he beats George Burns, Groucho Marx, and Debbie Reynolds for longevity, although he's nowhere near their level of fame.  Marc Lonow, who's the Father of the Bride (I think the one who beats up Robbie), was Dave (the uptight married guy) twenty years earlier, in Thank God It's Friday.   Carmen Filpi, who's Old Man at Bar, had a small but pivotal role as Old Man Withers in Wayne's World.  Angela Paton was much more memorable as Mrs. Lancaster in Groundhog Day than she is as Faye here. Jason Cottle and Jenna Byrne, who play Scott and Cindy Castellucucci here, were in Wag the Dog as A.D. and Sharon respectively.

Nearly all of Priscilla Cory's credits read "Pretty Brunette" something, so she's Pretty Brunette Hostess here and would be Pretty Brunette High School Student in Barrymore's Never Been Kissed.  Allen Covert, who plays Sammy (Robbie's friend who idolizes Fonzie and Michael Jackson), would appear there as Roger in Op-Ed.

I don't have any other credits for rapper Ellen Albertini Dow, but she just passed away, at 101!

Nice day for a white wedding.

Wilde

Wilde
October 17, 1997
BBC (among many others)
Historical, Romance, Drama
DVD
B+

This is an adaptation of the Ellman biography, reviewed here:  http://rereadingeverybookiown.blogspot.com/search?q=ellman.  Yes, this is certainly a case of the movie being better than the book, helped along by strong performances and uncanny casting.  Witty, gay Stephen Fry (then 40) is of course typecast as the title character, but he also brings out Wilde's vulnerability and kindness.  As Bosie, Wilde's great love, 24-year-old Jude Law brings not just blond beauty but a mixture of arrogance and charm.  (Forgive me, but I kept thinking it was like watching Draco Malfoy's great-great-grandfather.)  Jennifer Ehle, who was perfect as Lizzy in the TV adaptation of Pride & Prejudice a couple years earlier, somehow manages to play Wilde's wife Constance without making her a saint and shows us why Oscar did in some sense always love her.  I also must mention Michael Sheen as Robbie Ross, who matures from Wilde's first seducer to a true friend.  (Sheen would go on to the scenery-chewing role of Aro in the Twilight series, which I've watched for the lulz but don't own.)

If the movie has any weakness, it is that there is so much focus on Wilde's love life and not enough on his writing.  Still, there is enough of his works, particularly The Selfish Giant (which becomes a motif for the conflict between his family life and his "nature," i.e. homosexuality), that I can tag Wilde.  (I suppose Wilde was arguably bisexual, but much more oriented towards men.)  Needless to say, this movie is much more explicit than In & Out was, although never pornographic.  However, unlike the Kevin Kline movie, it does end tragically, because Wilde's life ended tragically.

Tom Wilkinson, who's quite good as Bosie's father the Marquess of Queensberry, played a very different father, Mr. Dashwood, in Sense & Sensibility.  Ironically, Gemma Jones is again playing his wife (well, ex-wife here), although they don't have scenes with each other in either film.  She would become Madam Pomfrey in the Harry Potter series, while Zoe Wanamaker, who plays Wilde's supportive friend Ada Leverson, nicknamed the Sphinx, would be Madame Hooch in the first Potter film.

Twelfth Night or What You Will

Twelfth Night or What You Will
October 25, 1996
Renaissance Films
Comedy, Romance, Historical
VHS
B-

My review of the play is here: http://rereadingeverybookiown.blogspot.com/2011/11/twelfth-night.html.  No, I wouldn't put this movie on that level-- it just doesn't build to anything-- but it is somewhat entertaining.  There are some puzzling choices for setting.  Why is it set in the Victorian period and filmed in Cornwall?  (When I saw the movie the Fall after a trip to England, I immediately recognized St. Michael's Mount on the screen.)  Not that this interferes with my enjoyment, but it is distracting.  I thought the movie did a nice job balancing the queer subtext of the original, even with women in the women's roles.

The cast is overall solid and I think Imogen Stubbs does well with Viola and Cesario, very different from her duplicity as Lucy Steele in Sense & Sensibility, since she has a reason for her deception here, and she makes both characters likable.  (Her Cesario is actually quite handsome and charming.)  As I said in my "book" review, 30-year-old Helena Bonham Carter is lovely as Olivia, and I like how she adds some sweetness and a sense of humour to the character.  Her maid Maria is played by Imelda Staunton, who had been Lucy's cousin and several years later would debut in the Harry Potter series in the same installment (fifth) as Carter, the two of them playing two very different villaineses.  Mel Smith plays Olivia's drunken uncle and does it with more subtlety than he showed in his brief self-direction in The Tall Guy.  Nigel Hawthorne, who plays Malvolio, would be Rodney Fraser in The Object of My Affection.

Emma

Emma
August 30, 1996
Miramax
Comedy, Romance, Historical
VHS
C+

While on the surface this may seem like a faithful adaptation of the Austen novel, I find it much less in the spirit than Clueless, not to mention the contemporary Kate Beckinsale TV-movie.  I'm going to have to blame writer-director Douglas McGrath for the main flaws: general miscasting (especially of Harriet), a cutesy device of a sentence being started in one scene ("So then I said....") and then finished in the next ("How delightful!"), and the shafting of the Frank Churchill/ Jane Fairfax subplot.  (Enchanted April's Polly Walker and 25-year-old Ewan McGregor both do their best, but they're given little to work with and are misdirected in most of what they do get.)

That said, there are moments when the film forgets its own unnecessary flourishes and focuses on Austen's still great dialogue and plotting.  Even if the cast isn't quite right, it is an interesting assemblage, including 23-year-old Gwyneth Paltrow in the title role (sufficiently British but too pouty), 31-year-old Alan Cumming as Mr. Elton, and of course Emma Thompson's mother and 34-year-old sister as Mrs. and Miss Bates.  I have to note that Jeremy Northam as Mr. Knightley and Greta Scacchi as Mrs. Weston are both much more interesting and attractive than anyone else in the movie, and I would've actually rather have watched a far from canonical backstory of them being in love ten or fifteen years earlier.

Sense and Sensibility

Sense and Sensibility
January 26, 1996
Columbia
Comedy, Drama, Romance, Historical
DVD
B+

My review of the book is here:  http://rereadingeverybookiown.blogspot.com/2011/12/sense-and-sensibility.html.  On balance, I think the movie and book are equal, for reasons I discuss there.  So let me just mention a few things, I didn't cover before, in particular, the casting.  As you can see, I've tagged a heck of a lot of people, three of whom were in Peter's Friends:  Emma Thompson of course, and Hugh Laurie & Imelda Staunton, again playing a married couple, although their height difference is used for more comic effect here.  Everyone of the tagged performers, except the two Hughs and Imogen Stubbs (who is Lucy here and would shortly appear in Twelfth Night with Imelda Staunton), would be in at least one Harry Potter movie, while Grant and Jones would be in both Bridget Jones movies.

This cast cosiness adds to the feel of the movie, which is, as it title suggests, very much about thoughts and feelings.   (And Thompson, whose marriage to Kenneth Branagh was breaking up at the time, would find love with Greg Wise, who plays Willoughby here.)  With the female side of the Dashwood family in particular (Jones, Thompson, Kate Winslet, and a quite good Emilie François as Margaret), we see how much they care, not in a corny way but as if the family is central to their identities, romances aside.  Watch for instance how Edward's proposal is told not through Thompson and Grant but through the reactions of her mother and sisters.  Meanwhile, Alan Rickman gives a performance throughout the film that is more about what he doesn't say than what he does.  (And he already has developed the Snapian pauses by the way.)

The other thing I really appreciated this go-round was the scenery.  It's not as lovely as Italy in Enchanted April, but in its own understated way England (Devonshire especially) is figurative as well as literal background to the mood of the story.

Little Women (1994)

Little Women (1994)
December 25, 1994
Columbia
Drama, Comedy, Historical, Romance
VHS
B-

In thinking it over, I'd actually put this movie at the same level as the 1933 George Cukor version.  Winona Ryder, then 18, does a fine job in stepping into Katharine Hepburn's shoes, with her own equally valid interpretation of Jo.  The other sisters are again neglected, although Marmee's role (played by Susan Sarandon) has been beefed up and made to more closely resemble Alcott's mother.  The sisters do have some nice little moments, in particular 13-year-old Kirsten Dunst as Amy (whom I miss when she's recast for the grown-up Amy scenes), but I would like to see more balance in some version someday.

And at least they have something to do, unlike most of the men.  With the exception of Christian Bale as Laurie, and to some degree Gabriel Byrne as Professor Bhaer, the male characters are either miscast/misinterpreted (John Brooke) or almost nonexistent (Mr. Laurence and Mr. March).  One thing that the '33 version did much better was show how gruff Mr. L interacts with the March sisters, Jo and Beth especially.  And Mr. M seems to have only three lines in this go-round.  Incidentally, I'm using the "romance" tag here although I didn't for the '33 version, because it seems like romance is a bigger deal here, including quite a bit of smooching and almost-smooching.

Of other female characters, I would've liked to have seen more of film veteran Mary Wickes, as Aunt March, since she could've done a lot with the part.  (Wickes died the following year, at 85.)

I will say that the movie moved me more emotionally than the '33 version, although I did find some of the line delivery a little stilted, if less than in the not-far-from-the-silent-era earlier take.  Both remain less than the book they're based on.  (Reviewed here, http://rereadingeverybookiown.blogspot.com/2012/02/little-women.html .)  Admittedly, that's one of my favorite books, but in the first half of the '90s both Enchanted April and Joy Luck Club showed what could be done with adaptations.

Daniel Olsen, who plays a Wounded Soldier, would be an MIT student in Good Will Hunting.

The Hudsucker Proxy

The Hudsucker Proxy
March 11, 1994
Warner Bros.
Comedy, Drama, Historical, Sci-Fi
DVD
B-

It's a little odd that I own this movie at all, let alone on DVD.  The simple answer is that a friend regifted it to me several years ago at Christmastime.  I like the movie but it never quite gripped me.  I find it a little distant and forgettable.  It's well-made, but I'm not particularly a Coen Brothers fan.  I respect them and get some entertainment out of their comedies (and dramedies), but, no, I'm not drawn in.  I have similar feelings about the three leads here: Tim Robbins, Paul Newman, and Jennifer Jason Leigh.  It's no coincidence that I don't own any other movies with Newman or Leigh.

The movie presents a highly fictionalized account of the invention and promotion of the Hula-Hoop.  However, although it's set in 1958, the feel is closer to the mid-'40s, with homages to (among others) Preston Sturges and Frank Capra.  (I'm sure that Robbins's character being named Norville is a nod to Morgan's Creek.)  The film has the same themes of time and redemption as Groundhog Day, but with a much heavier touch.  (Its Magical Negro is also much more obviously controlling time.)  The look and sound of the movie are well done, including such touches as a businessman named Bumstead, as in Dagwood.  But not only did I find myself at times wishing I actually was watching Sturges and Capra, but I also started looking forward to the much giddier (and wiser) Down with Love.

Pat Cranshaw, who portrayed old men for decades in movies and on TV, including in Sgt Pepper (1978), here plays the Ancient Sorter.  Richard Whiting, the Ancient Puzzler here, was a priest in Tootsie and a doctor in Zelig.  Robert Weil, who's the Mail Room Boss, was Co-Op Member #2 in Who's That Girl.  Barbara Ann Grimes, who plays Mrs. Cardoza, was a Flat Tire Lady in Groundhog Day.  Of the board members, Gary Allen was a school teacher in Annie Hall; Jerome Dempsey was Sam and Sid in Tune in Tomorrow...; and Richard Woods would be Reverend Morgan in In & Out.

Charles Durning plays Waring Hudsucker, before and after death.  This time Peter Gallagher is Vic Tenetta, the crooner.  Steve Buscemi has a nice little cameo as the Beatnik Barman.

"You know, for kids!"

The Joy Luck Club

The Joy Luck Club
October 29, 1993
Buena Vista
Historical, Drama, Comedy
VHS
B

As I said in my review of the novel--http://rereadingeverybookiown.blogspot.com/2013/05/the-joy-luck-club.html--I believe that the movie adaptation is better than the book, although it's not as drastic an improvement as with (The) Enchanted April.  The story is tighter and flows better.  Also, I liked seeing the very expressive faces, with a mostly unfamiliar, mostly Asian cast.  Rosalind Chao was already familiar to me in the mid-'90s, from Diff'rent Strokes and AfterMASH on television, but she does well stepping outside that sitcom environment.  The writing, acting, and direction are generally solid.  (The actresses who portray the mothers as children were much better than you'd expect.)  I didn't cry on this viewing, but I have in the past.

Why not a higher grade?  Two things.  One, I found the music and some other touches to be a bit manipulative.  It made it hard to just submerge myself in the world of the film, no matter whether in China or America, the 1930s or beyond.  And two, well, I had trouble keeping the various characters straight, despite previous viewings and readings.  Perhaps this is racism on my part (although the performers definitely don't "all look alike"), but I've had similar problems with, for instance, Gosford Park.  I'm not at my best with a cast where there are so many main characters.  Also, while there is more sense than in the book how the characters relate to each other-- the Waverly & June rivalry for instance is well done, and we can see how their mothers create it-- I only rarely got a feeling of how this group works as a whole.

Still, the movie holds up well, saved from being dated in part because it's about how things change and don't change across the generations.  There are certainly universal themes (such as the mother-daughter relationship), while at the same time we get to know a particular culture a little better.

Enchanted April

Enchanted April
April 5, 1992
Miramax
Comedy, Drama, Romance, Historical
VHS
A-

In reviewing the book on which this is based, http://rereadingeverybookiown.blogspot.com/2012/04/enchanted-april.html, I said that I'd probably give the movie a B+.  But on this, my first viewing in about four years, I found it was even better than I remembered.  Yes, I'm still not entirely satisfied with how the husbands are handled, but the film is nonetheless, as Lottie puts it, a tub of love.  I kept thinking the word "beautiful" again and again.  The movie was shot for television but then released for the big screen, and of course I watch it on TV, on one of three VHS tapes that my ex-husband and I made (we were both big fans), but you could probably watch it on a smart device and still see how lush the scenery is, how the women (even Mrs. Fisher) look like living, breathing paintings.

And the dialogue and narration are in turns sweet, funny, and heart-breaking.  It may well be the movie I own with the least action (even what would develop into a fight scene or a robbery in another story has a happy or at least comedic ending).  It's a reflective, vacation-like movie, and yet there is an undercurrent of sadness, with these characters hurt by loss of love.  Yet Spring means rebirth.

I came to this movie originally because of my fanhood of Josie Lawrence (physically but not spiritually miscast as Lottie).  She's quite lovable on the British comedy-game show Whose Line Is It Anyway?, and she's equally lovable here, although Lottie seems to have little in common with her, other than a tendency to say things she didn't intend to.  The rest of the cast is generally strong, but she still stands out as the heart of this movie.

This film is notable for beginning what I call the Three Degrees of Harry Potter and/or Jane Austen.  This is the rule that after a certain point, every British film has someone who was in a Jane Austen adaptation and/or a Harry Potter movie, or at least has someone who's a degree or two from someone who was.  Polly Walker (Lady Caroline) would show up in Emma, while director Mike Newell would helm Goblet of Fire, which has Miranda Richardson as the very un-Rose-Arbuthnot-like Rita Skeeter.  And Jim Broadbent, who's Rose's husband here, would appear as Professor Slughorn later in the series.

Mermaids

Mermaids
December 14, 1990
Orion Pictures
Comedy, Drama, Romance, Historical, Musical
VHS
B

Based on a book I've never read, this movie has a more intelligent script than your average big Hollywood movie, even if it's only "a big movie" in comparison to my other films from 1990.  It's set the Fall through Spring of '63 and '64, in a lovely small town in Massachusetts.  The unconventional family of the Flaxes, 33-ish Rachel (played by 44-year-old Cher), her daughters 15-year-old Charlotte (19-year-old Winona Ryder) and 9-year-old Kate (10-year-old Christina Ricci in her big-screen debut) are somewhat nomadic, thanks to Rachel's restlessness and fear of commitment, but this time her daughters want to stay in one place.  Rachel's new boyfriend, the surprisingly sexy Lou (48-year-old Bob Hoskins), also wants them to stick around.  Meanwhile, Charlotte, despite her ambition to be a nun (although the Flaxes are Jewish), longs for 26-year-old Joe.

You can see why I've chosen so many genre labels.  As for "musical," it's not so much that everyone breaks into song (although Cher can be heard covering "The Shoop Shoop Song [It's in His Kiss]" over the closing credits, and in the music video on the VHS version), as that the songs set the various moods and help flesh out the time period.  By the time the Flax "girls" are clowning to "If You Want to Be Happy," you see what a journey they've been on, as a family and as individuals.  Even Kate has her own arc and, although she's far from a stereotypical little girl, it's clear why the one thing Rachel and Charlotte agree on is how lovable Kate is.  The dynamic between mother and older daughter is very well done, and I like how, although everyone is flawed, there are no villains here.  The direction, by Richard Benjamin, is overall solid.

It's not a great movie, and indeed this was only my third or fourth viewing, so I don't have a strong attachment to the film.  But I definitely recommend it, as long as (as with the other 1990 movies I own) you don't expect to be blown away, just entertained and maybe moved.  And you might just get some ideas for the next time you serve finger-foods.

Tune in Tomorrow...

Tune in Tomorrow...
November 1990
Odyssey
Comedy, Romance, Historical
VHS
B-

This is an uneven but pretty good film, where the main plot, of a 1951 romance between Martin, a 21-year-old New Orleans man (played by 26-year-old Keanu Reeves with a shaky Southern accent) and his 36-year-old "aunt" (actually his aunt-by-marriage's sister) Julia (42-year-old Barbara Hershey), who's been living in New York, is overshadowed by the goings on, on and off the air, at the radio station where Martin works.  Reeves and Hershey have decent chemistry together, and the age difference doesn't seem like an especially big deal, but the problem is that their characters aren't particularly interesting or likable, together or separately.  And the way that soap-opera writer Pedro Carmichael (Peter Falk) manipulates them, and that they fall for it, adds to the faultiness of the romance.  (When Martin shows up with a gun and then it's resolved through unfunny humor, it leaves a bad taste.)

Luckily, Pedro's machinations for the characters of Kings of the Garden District more than make up for this.  While some plain-looking and -sounding radio performers act, we see the scenes played out with stars like John Larroquette and Dan Hedaya (as two brothers), Hope Lange, Elizabeth McGovern, Buck Henry (as a priest) and so on.  Incest is a theme on the radio soap as well, but taken to ridiculous heights.  And Pedro's unremitting and unmotivated hatred for Albanians leads to some of the funniest lines.  I'd almost recommend you fast-forward through the romance parts, but that "reality impacts" the soap.  And the Wynton Marsalis soundtrack is nice, although I'm not a jazz fan generally.

Richard B. Shull, who was Emery Bush in The Big Bus, is Leonard Pando (the actor Pedro convinces to masturbate to improve his acting).  Irving Metzman, who was the Theater Manager in The Purple Rose of Cairo, is the Producer of Detroit Radio here, while Crystal Field was in the audience there and is Josephine Sanders here.  (She was also in Radio Days.)  Bill Moor, who's Duke Vermont here, was U.S. Consul in Ishtar.

Peter Gallagher, playing sister-lover Richard Quince here, would be Dan Riley in Bob Roberts.  Jerome Dempsey who plays Sam & Sid (the split-personality/ twins who run the station), would be a board member in The Hudsucker Proxy.

This movie is based on the Mario Vargas Llosa novel Aunt Julia and the Scriptwriter (obviously not set in New Orleans), which I couldn't get through when I tried it years ago.