Daily Archives: November 29, 2018

Scent Of A Woman

From the Chicago Reader (December 1, 1992). — J.R.

http://img.soundtrackcollector.com/movie/large/Scent_of_a_woman.jpg

Al Pacino’s winning entry in the disability Oscar sweepstakes, with plenty of reminders of Dead Poets Society to take up the slack once it runs out of ways of emulating Rain Man. Among the able hands in this scurrilous, overlong enterprise are screenwriter Bo Goldman, producer-director Martin Brest, and costar Chris O’Donnell; the plot, a very loose Americanized remake of a 1975 Dino Risi comedy, transpires over a Thanksgiving weekend, when a scholarship student (O’Donnell) at an expensive New England prep school, wrestling with an anguished crise de conscience (he’s being pressured to inform on classmates), is hired to take care of a blind retired lieutenant colonel (Pacino), who drags him along to Manhattan on a wild, expensive weekend. An irascible bully who proves to have a heart of gold, Pacino’s character seems manufactured by a computer programmed with box-office grosses, and it’s disheartening to find a movie that professes to take a stand on behalf of personal integrity ripping off Chaplin’s theme song from City Lights without credit to generate some of its pathos. Given the talent on board, there’s an undeniable flair and effectiveness in certain scenes (such as Pacino dancing the tango with a stranger in a posh restaurant), but the meretricious calculation finally sticks in one’s throat.… Read more »

Glengarry Glen Ross

From the Chicago Reader (September 1, 1992). — J.R.

http://www.movieposter.com/posters/archive/main/75/MPW-37502

The underrated James Foley (After Dark, My Sweet) shows an excellent feeling for the driven and haunted jive rhythms of David Mamet, macho invective and all, in a superb 1992 delivery of his tour de force theater piece about desperate real estate salesmen, adapted for the screen by Mamet himself. Practically all the action occurs in an office and a Chinese restaurant across the street, and Foley’s mise en scene is so energetic and purposeful (he’s especially adept in using semicircular pans) that the ‘Scope format seems fully justified, even in a drama where lives are resurrected and destroyed according to the value of offscreen pieces of paper. The all-expert cast consists of Al Pacino, Jack Lemmon, Alan Arkin, and Ed Harris (labor), Alec Baldwin and Kevin Spacey (management), and Jonathan Pryce (a customer); the wholly appropriate jazz score, with fine saxophone solos by Wayne Shorter, is by James Newton Howard. 100 min. (JR)

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