From the Chicago Reader, September 25, 1987. — J.R.
*** (A must-see)
Directed by Alan J. Pakula
Written by Lyle Kessler
With Albert Finney, Matthew Modine, Kevin Anderson, and John Kellogg.
Although the conventional Hollywood wisdom about adapting plays into movies is that plays should be “opened up,” the practical effect of this is often roughly equivalent to letting the air out of tires: the air may circulate more freely, but the wheels no longer turn. Fortunately Alan J. Pakula is a sensible enough man to recognize this danger, and the best thing that can be said about his movie of Orphans is that, by and large, he has allowed the original play to remain a play. Indeed, only by respecting the integrity of the original has he managed to adapt it into a fairly successful movie.
A contemporary play set in the present, Lyle Kessler’s Orphans has a distinctly uncontemporary, even old-fashioned flavor to it. Largely concerned with intense family relationships and feelings — between brothers, and between father and sons — it has virtually no traces of sadomasochism, which alone suffices to make it unfashionable as theater in this post-Pinter era. In a time when Sam Shepard’s laconic Marlboro ads are experienced as existentially authentic, and Wallace Shawn’s intricate lacerations and varieties of self-loathing are regarded as cathartic, Kessler’s primal depictions of brotherhood and fatherhood, without the usual smirking ironies, are simple and direct to the point of embarrassment. Read more
From the Chicago Reader (June 30, 1995). — J.R.
Rating ** Worth seeing
Directed by Mike Gabriel and Eric Goldberg
Written by Carl Binder, Susannah Grant, and Pillip LaZebnick
With the voices of Irene Bedard, Judy Kuhn, Mel Gibson, David Ogden Stiers, Linda Hunt, Russel Means, Christian Bale, Billy Connolly, and Joe Baker.
American history without Smith and Pocahontas is hard to imagine. If the void were there, something else — yet something similar — would have to fill it. — Bradford Smith, Captain John Smith: His Life & Legend
I assume we’re still some years away from the abolition of state-supported schools and the gleeful handing over of our entire system of education to the Disney people. But some of the studio’s clever promotions for Pocahontas might make you conclude that some such changes have already taken place.
Consider the “special collector’s issue” of the kids’ magazine Disney Adventures devoted to “Pocahontas: The Movie, The Stars, The Real-Life Story,” complete with ads for some of the spin-off products. It afforded me almost as much food for thought as the two hours I spent in a library reading through historical accounts of what “really” happened in the wilds of Virginia in the early 17th century. Read more
From the Chicago Reader (July 28, 2006). — J.R.
* (Has redeeming facet)
Directed and written by Woody Allen
With Scarlett Johansson, Allen, Ian McShane, Hugh Jackman, Fenella Woolgar, and Julian Glover
Unlike some of his more commercial contemporaries — including Harvey Weinstein pets Martin Scorsese and Quentin Tarantino — Woody Allen has always had the final cut on his movies. But then what are the corporate honchos risking with this indulgence? They know familiarity is one of many things that draw us to movies, and they know with Allen not to expect any surprises. Unfortunately the industry often behaves as if familiarity were the only attraction.
Match Point, Allen’s best movie to date, was criticized in some quarters because it transplanted many of his concerns from New York to London and because it had an uncharacteristic seriousness and precision. Scoop, its lame successor, is also set in London and also costars Scarlett Johansson as another American greenhorn (a journalism student instead of an aspiring actress) who becomes involved with another wealthy Englishman who has a country estate. And once again there’s the plotting of the murder of a girlfriend that calls to mind Theodore Dreiser’s An American Tragedy. Read more