Mermaids (1990)

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Weird things happen. It’s 1963. Fifteen-year-old Charlotte Flax (Winona Ryder) is tired of her wacky mom (Cher) moving their family any time she feels it is necessary. When they move to a small Massachusetts town Mrs. Flax begins dating kindly shopkeeper Lou (Bob Hoskins) whose wife has run away. Charlotte and her 9-year-old swimming enthusiast sister, Kate (Christina Ricci), hope that they can finally settle down. But when Charlotte’s attraction to an older man Joe (Michael Schoeffling) the convent’s caretaker gets in the way, the family must learn to accept each other for who they truly are just as the President is assassinated and the nation mourns…  June Roberts’ adaptation of Patty Dann’s book is adept and appropriate, giving Winona Ryder one of her best roles and she plays it beautifully. Funny, warm and engaging, this works on so many levels but it doesn’t dodge the effect of maternal neglect – which is also a case of overpowering personality:  Charlotte’s fantasy fugue to New Haven is a sharp reminder that mother-daughter relationships are a minefield and when the daughter starts imitating the mother’s promiscuous behaviour (in between attempts to live like a Catholic saint) Mom doesn’t like it and there’s collateral damage. The girls are not products of marriages – just a teen romance and a one-night stand with an Olympic athlete (maybe) and when things get tough, Mom always gets going.  It’s Charlotte who wants to settle down. There’s a wonderful running joke about Mom’s inability to prepare any food other than hors d’oeuvres or sandwiches served with star-shaped cookie cutters. With great dialogue, lovely scene-setting and on the button performances (Cher giving one of her best), there’s nothing in this well-judged comedy drama you can’t like even though it unexpectedly swerves directions, more than once.  The characters are still sympathetic despite being curiously narcissistic:  that’s good writing. Cher tops it off with The Shoop Shoop Song! Directed by Richard Benjamin.

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Jasper Jones (2017)

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It’s not my brand. It’s the late 1960s in the small town of Corrigan in Western Australia.  14 year old Charlie Bucktin (Levi Miller) is the son of writer Wes (Dan Wyllie) whose frustrated wife (Toni Colette) is a restless soul. Wannabe writer Charlie spends his days with his best friend Jeffrey Lu (Kevin Lu), a Vietnamese boy daily confronted with race hate in a place where young men are being sent to Vietnam. Eliza Wishart (Angouire Rice) daughter of the President of the town hall becomes more and more endeared towards Charlie and they bond over their mutual love of books. On Christmas Eve Charlie is unexpectedly visited by Jasper Jones (Aaron L. McGrath) an outcast due to his mixed White-Aboriginal heritage and rebellious lifestyle. Jasper begs for Charlie’s help, and leads him to his private glade where Charlies is horrified to see Jasper’s girlfriend Laura Wishart, battered and hanging from a tree. Jasper, aware that he is likely to be blamed for Laura’s murder, convinces Charlie that they should hide the body, so they throw it into a nearby pond, weighted by a large rock. Jeffrey is passionate about cricket, but his attempts to join the Corrigan team are thwarted by the racism of the coach and other players. Eventually he finds himself batting in a game against a rival town, watched by Charlie, who has befriended Eliza, Laura’s younger sister. As Jeffrey wins the game on the last ball, Charlie and Eliza hold hands and embrace. A search for the missing girl is soon organised, focused on the idea that she may have run away. Jasper is interrogated roughly by the local police, but he soon escapes. Meanwhile tension builds in the town, as parents fear more disappearances, and townspeople search for someone to blame. The tension is funneled into strict curfews for the children as well as racial attacks on Jeffrey’s family. It is revealed that Charlie’s mother, increasingly disillusioned with life in Corrigan and her marriage, is having an affair with the Sarge involved with the investigation into Laura’s disappearance. Jasper believes that Laura’s murderer is Mad Jack Lionel (Hugo Weaving) an old recluse rumored to have done terrible things in the past. Jasper determines to confront Lionel on New Year’s Eve, and together with Charlie, goes to his house. Lionel manages to defuse Jasper’s aggression, and the truth comes out: Lionel is actually Jasper’s grandfather who had ostracised his son’s family knowing that he had married with an Aboriginal woman when Jasper was a baby. His daughter-in-law then took care of him, spurring a change of heart towards her. One night, she needed medical attention, and Lionel had attempted to race her to hospital. In his haste, however, he accidentally crashed his car, causing her death. The incident has left him guilty, broken, and ostracized by the townspeople. Ever since, Lionel has been trying to reach out to Jasper and apologise for his actions. On the same night, Charlie comes to Eliza’s window. They go to Jasper’s glade. Here Eliza tells Charlie that she knows everything about Laura’s death and hands him Laura’s suicide note which explains the incestuous rapes to which their father had subjected her and left her pregnant. Eliza witnessed her sister’s suicide by hanging and then Charlie admits to her that he and Jasper got rid of her body. After exacting a revenge on her father the secret remains with Charlie and Eliza and her mother, who destroys the note but Charlie’s own family is broken up when his mother leaves the small town which cannot contain her … Craig Silvey adapted his own novel with Shaun Grant.  Director Rachel Perkins sustains an admirable atmosphere and sympathy in what is essentially a family drama enlivened by what Freud ironically termed ‘romance’ with a supposed murder mystery at its centre. The playing is excellent by actors both young and old with a canny sense of what it is to be young and trying to figure out how adults inflict damage on everyone around them – this is practically a thesis on different models of fatherhood, but it’s so well constructed you don’t understand until the final shot. The mystery isn’t really the point either although there is a deal of suspense. It’s a film that perfectly captures what it is to be young, to love books and to be loyal to your friends and the myriad ways that kids find to survive their parents.  There are echoes of To Kill a Mockingbird and Stand By Me in the themes rendered here but it exists on its own merits as a complex coming of age drama with its distinctive setting and concerns.

I am a Camera (1955)

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I am a camera with its shutter open, quite passive, recording, not thinking.  In the 1950s the writer Christopher Isherwood visits his London club and discovers that he has arrived in the middle of a book launch by a woman called Sally Bowles and regales his friends with stories of their life together just before the Nazis ascend to power in 1930s Berlin. Chris (Laurence Harvey), an aspiring novelist from England and ‘confirmed bachelor’ meets vivacious cabaret entertainer Sally Bowles (Julie Harris) at a nightclub where she’s performing her act and an unusual friendship is born. She moves into his boarding house and their lives become inextricably intertwined as he struggles to write and she tries to make her way with men, a ‘future would-be film star’ as she tells the landlady (Lea Seidl). As Sally feeds her extravagant tastes, Chris goes along for the ride and they are financed by American Clive Mortimer (Ron Randell) until their pal, Fritz (Anton Diffring), encounters trouble after ingratiating himself with Natalia Landauer (Shelley Winters) the daughter of a wealthy department store owner and confesses he himself has been concealing his Judaism. Meanwhile the Nazis bully people on the streets prior to a popular election result … Adapted from the play by John Van Druten, itself based on Goodbye to Berlin, part of the memoirs of writer Christopher Isherwood, this story also served as the inspiration for the later acclaimed musical Cabaret which Bob Fosse turned into a garish and extraordinary fascist-baiting extravaganza. This adaptation by John Collier of Van Druten’s play is of an altogether more modest variety but is entertaining for all that – the charming Harvey (I’m prejudiced, I love him) and the winsomely over the top Harris are wonderful together in their drab bedsits as they try to make their lives fit their pretensions. The treatment got a lot of criticism at the time and you might even be vaguely shocked by what Sally does in the aftermath of her abortion which is characterised as a false pregnancy here. It still ran into censorship problems because there are no moral lessons. Isherwood himself didn’t like it at all and believed Harris to have been ‘mis-directed’ (she had won the Tony for the role on Broadway) but it was his life of course so he could say what he liked. (Me no Leica.) Watch for Patrick McGoohan as a Swedish Water Therapist! Directed by Henry Cornelius.

The Poseidon Adventure (1972)

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My God I’ve never seen anything like it – a gigantic wall of water heading directly for the ship! The SS Poseidon is on its last voyage from New York to Athens before retirement. Reverend Scott (Gene Hackman) is a troublesome priest being sent to Africa as punishment. Detective Rogo (Ernest Borgnine) and his ex-prostitute wife Linda (Stella Stevens) are dealing with her seasickness and a man who recognises her. Susan Shelby (Pamela Sue Martin) and her little brother Robin (Eric Shea) are squabbling on the trip that will see them meet with their parents. Manny Rosen (Jack Albertson) and his wife Belle (Shelley Winters) are going to Israel to meet their new grandson. Nonnie (Carol Lynley) is rehearsing songs with her brother in the ballroom for the New Year’s Eve dance. Bachelor James Martin (Red Buttons) confesses his shyness at the captain’s table at dinner. And then a tidal wave (what we now call a tsunami) capsizes the ship and their whole world is upside down and flooding quickly … Paul Gallico’s 1969 novel gets a great adaptation by Stirling Silliphant and Wendell Mayes who distill people’s essential characters into pithy exchanges and lines of action – let’s face it in a situation like this there’s no time for sweet nothings. Producer Irwin Allen assembled a star-ridden cast for this disaster movie to end them all. A raft of Oscar winners – Borgnine, Winters, Buttons, Albertson – make it into the final half dozen who swim, climb and beat their way to the engine room on the upturned vessel and the pressure (water, religious and otherwise) is intense as they are led by Scott who is invested with crazed levels of commitment by Hackman. But before they can be saved there are terrible personal sacrifices… And you thought you’ve had bad New Year’s Eves! This is thrilling from start to finish! Directed by Ronald Neame with a lot of interiors done on the Queen Mary docked at Long Beach and a resonant score by John Williams.

When Harry Met Sally (1989)

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Men and women can’t be friends because the sex part always gets in the way. Years after a disastrous cross-country car trip when they’re leaving college in Chicago, freshly divorced political consultant Harry (Billy Crystal) runs into journalist Sally (Meg Ryan) in NYC after she’s just broken up too. They console each other over their numerous dating fails and become each other’s late night phonecall while introducing their own best friends to each other and have to stand by while they watch the pair (Bruno Kirby and Carrie Fisher) fall in love and get married. He’s depressive but funny, she’s awkward and self-indulgent. Then when Sally finds out her ex is marrying the woman he dated after her she gets upset – she was supposed to be the transitional person! – and calls Harry and then she and Harry sleep together … Nora Ephron’s witty and insightful comedic tale of contemporary relationships is so true it’s not even funny. What happens when you date your best friend after a traumatic divorce and they know absolutely everything about you? What good can possibly come of it? That was the discussion between director Rob Reiner and smarter-than-thou writer Ephron that led to this. The scene in Katz’s Deli is crowned by Reiner’s mother’s line that is now part of the language – I’ll have what she’s having:  Crystal dreamed it up but only after Ryan suggested faking an orgasm. The aphoristic exchanges are broken up with interviews to camera featuring old married couples recalling how they met. Now when somebody tearfully declares I hate you you’ll have to think twice about what they’re really saying. A modern classic.

 

 

Sleepless in Seattle (1993)

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Those were the days when people knew how to be in love. Jeff Arch’s story was a meta discourse about people’s views of love and relationships being mediated by the movies. Nora Ephron turned it into a valentine to An Affair to Remember, a 1957 movie starring Cary Grant and Deborah Kerr. Together with her sister Delia it became as much com as rom, but it still has a baseline of melancholy and that killer feeling, bittersweet. Sam (Tom Hanks) is the widowed architect whose son Jonah (Ross Malinger) wants him to find The One so he can have a mother again. They live in Seattle. Annie (Meg Ryan) is the very proper journalist in Baltimore who gets engaged to the allergy-afflicted Walter (Bill Pullman).  She hears Jonah on a late night radio phone-in and stops at a diner where the waitresses talk of nothing else but this sweet  guy whose son wants him to remarry. She thinks there’s a story there but there’s more, as her friend Becky (Rosie O’Donnell) figures when her newly affianced friend is so distracted.  While she vaguely plans to hunt down Sam and carry out some friendly stalking, he starts to date again and his son is disgusted by his choice, one of his co-workers. Sam and Annie see each other across a crowded road when she nearly gets hit by a couple of trucks. Her letter to him asks him to meet at the top of the Empire State building on Valentine’s Day a la Cary and Deborah and it’s sent by Becky without her knowledge.  Things pick up when Jonah flies to NYC to keep the date and she’s there having dinner with Walter during a romantic weekend at The Plaza … The tropes from When Harry Met Sally are here – the mirroring conversations, the advice from friends, the movie references, and even that film’s director Rob Reiner plays Sam’s friend and even though she’ d already made a movie this was what really made Nora Ephron as an auteur. It’s a clever premise, discursive as well as fairytale, positing the idea that even though they’re a country apart a pair of compatible people are destined to meet. Eventually. Isn’t that wild? Separating a romantic couple until the very last five minutes of a film?! What a risk! With a helping hand from fate, a kid and a dream of finding love on Valentine’s Day, it helps that this hits three holiday celebrations including Christmas and New Year’s.  It shouldn’t work but it does, helped with some tart lines about men and women and what people settle for as opposed to what everyone really wants. What a dream team, boosted by some wonderful songs. Irresistible.

The Holiday (2006)

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What a cast. And it’s seasonal too! Christmas in April, as Preston Sturges didn’t write (for him it happened in July…) This is writer/director Nancy Meyers’ most explicitly essayistic film about love – and movies. Kate’s a society columnist in London in love with engaged Rufus Sewell, who wants her as his mistress;  Cameron is the LA trailer-maker shacked up with cheating Ed Burns.  They swap homes for the vacation and love turns up on their respective doorsteps.  One learns to cry for the first time in years, the  other learns to stop. Meyers takes knowing swipes at Hollywood genres, gets these impressive professional high-achieving women to rewrite the conventional ending and leaves us all with serious home envy (I have Kate’s, I want Cameron’s.) As in all of Meyer’s films, this is knowingly subversive with some home truths and life lessons (many coming from the wonderful Eli Wallach, the screenwriter neighbour who hasn’t worked since 1978) and there’s a surprise walk-on from Dustin Hoffman not to mention the stars of the film-within-a-film (alright, I won’t!). A film that repays repeat viewings. And if you want to read more about Meyers and her work I’ve written a book that takes you from her debut, Private Benjamin (1980) through It’s Complicated (2009). Pathways of Desire:  Emotional Architecture in the Films of Nancy Meyers is for sale on Amazon.  https://www.amazon.com/Pathways-Desire-Emotional-Architecture-Meyers-ebook/dp/B01BYFC4QW/ref=sr_1_1?ie=UTF8&qid=1474803514&sr=8-1&keywords=elaine+lennon.