From the Chicago Reader (February 1, 1991). — J.R.
A middle-aged couple (Woody Allen and Bette Midler) in southern California celebrating their 15th anniversary go to a shopping mall, and they proceed to decompose and recompose their relationship on the basis of various revelations. Although this only runs for about 90 minutes, it’s the emptiest and most long-winded movie Paul Mazursky (working here with his frequent cowriter Roger L. Simon) has ever made, a disappointingly steep descent after his Enemies, a Love Story. The characters never come to life, and restricting almost all of the action to a gigantic mall only makes the narrowness and boredom of the movie more obvious. Mazursky has returned with a vengeance to his special universe where the upper middle class is the only thing that exists, and this time he has absolutely nothing to say about it. (JR)
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From the Chicago Reader (June 1, 1988). — J.R.
Clare Peploe’s accomplished and intelligent first feature is a sunny tale of expatriates set on the Greek island of Rhodes, with a cast of characters and a set of crisscrossing destinies that occasionally suggest Graham Greene in one of his happier moods. The people include a talented professional photographer (Jacqueline Bisset) faced with the possibility of having to sell her house, her teenage daughter (Ruby Baker) and ex-husband (James Fox), an art historian who is her oldest friend (Sebastian Shaw), a tradition-minded Greek peasant (Irene Papas) and her rebellious son (Paris Tselios), and an English couple on holiday (Kenneth Branagh and Lesley Manville). Many of these characters are not who they initially seem to be, and there are various forms of comedy in how they relate (or fail to relate) to one another. For spectators who recall Mazursky’s Tempest, this is a much better and smarter handling of many of the same elements, done this time for grown-ups — pleasurable and diverting throughout. (JR)
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From the January 19, 1990 Chicago Reader. –J.R.
ENEMIES, A LOVE STORY
*** (A must-see)
Directed by Paul Mazursky
Written by Roger L. Simon and Mazursky
With Ron Silver, Anjelica Huston, Lena Olin, Margaret Sophie Stein, Alan King, Judith Malina, and Mazursky.
It’s a truism of film criticism that the best movie adaptations of novels usually aren’t taken from the best novels. A good novel, like a good movie, has its own raison d’être, and attempting to translate one person’s novel into another person’s movie usually entails removing the novel’s raison d’etre or at least transmogrifying it beyond recognition. A classic example of misplaced piety, in the sense of a movie trying to follow a novel too closely, is Joseph Strick’s Ulysses (1967): despite the fact that characters, settings, and entire textual passages from Joyce are all dutifully delivered and rendered, Joyce himself is absent from the movie. The personal, historical, and formal determinations of the book have nothing to do with those of the director of the film, working almost half a century later. The gap between Joyce’s reasons for writing Ulysses and Strick’s reasons for adapting it is so cosmically wide that the two sets of motivations aren’t even on speaking terms.… Read more »
From the Chicago Reader (December 14, 1990). Note: Twilight Time has recently released The Russia House on Blu-Ray. – J.R.
THE RUSSIA HOUSE
*** (A must-see)
Directed by Fred Schepisi
Written by Tom Stoppard
With Sean Connery, Michelle Pfeiffer, Roy Scheider, James Fox, John Mahoney, J.T. Walsh, Ken Russell, David Threlfall, and Klaus Maria Brandauer.
** (Worth seeing)
Directed by Sydney Pollack
Written by Judith Rascoe and David Rayfiel
With Robert Redford, Lena Olin, Alan Arkin, Tomas Milian, Raul Julia, Richard Farnsworth, Mark Rydell, Daniel Davis, and Tony Plana.
The Russia House and Havana are both lavishly mounted love stories, packed with action and developed in relation to political intrigues abroad. What’s surprising about both is that although they’re Hollywood movies to the core, the American characters aren’t exactly the good guys.
In The Russia House the only important American characters are villains, while the hero is British and the heroine Russian. In Havana the hero is as American as they come, and he certainly behaves heroically, yet the film as a whole raises doubts about whether he has missed the boat, historically speaking. We entertain fewer doubts in this respect about the heroine, a Swede with an American passport who’s married to a Cuban.… Read more »