Zapfenstreich

This is a fine sweet-natured character study about big-hearted losers groping their way. The flavor of pre-grunge and pre-latte downtown Seattle drenches the film, evoked by the many authentic locations unearthed by director Rydell. Caan and Mason, as many have pointed out, are just terrific, and it is fun to see the younger Burt Young, Bruno Kirby (credited as Bruce Kirby Jr.), and especially Dabney Coleman, before their careers blossomed.

A word of warning though: the abysmal Paul Williams score and singing are rivaled only by Richard Baskin's infamous turn in "Welcome to L.A." for sheer auditory torture.

.....slow pacing, True-life acting, feel, mood, locale, downbeat tone, etc. I didn't quite buy the ending either-what, are the Navy's records THAT slipshod??-but if you go with it, it's okay. Caan, Mason, the kid, Tuco(Wallach), Kirby(is he Joe Pesci's brother or something?), all are fine. Caan in fact has rarely been better.

If you liked 'Last Detail' from the same era, same writer-then by all means check this out. I liked this-and so will you. Look for Dabney Coleman, Sally Kirkland and Burt 'Paulie on Rocky' Young in smaller roles.

*** outta ****

Remember the Saturday Night Live faux advertisement for the US Navy, way back in the late '70s? It was their gentle jab at the Navy's advertising slogan, "It's not just a job, it's an adventure!" The phony ad showed sailors doing what sailors do--chipping and painting a matronly and decidedly unglamorous replenishment ship. It was a funny ad, a stark contrast to the real one that showed bluejackets breezily enjoying the sights of exotic ports of call.

Jump forward to the late '80s and catch a CBS "48 Hours" episode about the lives of sailors on a Nimitz-class aircraft carrier. It was a good, solid piece of expository work that showed the violent excitement and danger of a carrier's flight operations contrasted with the much, much more mundane doings below decks, in the galley, the engineering spaces, etc. Said one sailor, covered with grease and saturated by sweat, "You're never gonna see a movie titled "Top Engineer."

I've always held a deep, abiding respect for our Navy (I even considered joining at the start of the Reagan years), but the tedium of swabbing decks somewhere down there in the large intestine of a flattop just didn't grab me.

And I said no.

Which brings us to Cinderella Liberty, a not-really-a-chick-flick with James Caan as a career swabbie, a guy who joined because he needed a steady gig, and Marsha Mason as the non-Hollywood-traditional whore he befriends in Seattle. I say non-traditional because she is NOT Julia Roberts but a chemical-saturated and beaten-up-by-life hooker who is trying to figure out how to take care of her adolescent son, keep a roof over their heads, and not get too involved with Caan. This proves difficult for Caan because he--like me--finds Mason imperfectly lovely, sexy, and appealing.

CL is such a (and I hate to use this cliché, but I will) slice of life (under the waterline, that is) with Caan having no great ambition other than to maintain his rank and his dental integrity while helping Mason and her son, not to mention his friend Eli Wallach.

Caan is a essentially a skilled grease monkey--no deep thinking here-- and he turns the hooker cliché on its head. He's the one with the heart of gold, not Mason. As you watch, she becomes less and less appealing. Her self-destructive impulses overwhelm her prettiness. Bad decisions blot out a perky nose, coy overbite, and non-fashion-model curves.

To add an extra layer of quality to the story, there's Seattle herself, here more matronly and replenishment ship homely than in your travel brochure. The Emerald City is rendered by the locale choices to feel working class, not flight-deck glamorous.

In closing, I recommend Cinderella Liberty because it is an honest film with nice, believable people and a story that shows rust streaks and all.

It's a fine entertainment.

The film's title refers to a real-life temporary "pass" or "leave" issued to navy personnel. In this fictional story, John Baggs, Jr. (James Caan) is one such sailor, stuck in Seattle on leave, a man who doesn't know what to do with his time, or his life. He ends up at a beer joint where he meets Maggie (Marsha Mason), a part-time hooker and pool hustler. "Cinderella Liberty" is the story about how these two lonely people meet, and their on-again, off-again romantic relationship.

Baggs is a low-key sort of fellow. But he doesn't take any guff from anyone. Maggie is on welfare. She lives with her eleven-year old son, Doug, in a dingy apartment in a dingy tenement building. Baggs tries to help the kid, but Doug has lots of emotional baggage, as does his mother.

The main characters are somewhat tragic. Baggs is certainly no war hero. Indeed, he's rather ordinary, but very caring. Yet, despite his best efforts to unite the three of them into a family, things don't always work out. But the film has a surprise ending that helps offset earlier distressing plot points.

Mostly downbeat and depressing, "Cinderella Liberty" is very 1970ish. Cinematography conveys an evocative mood, dark and dreary, and some of the images have a reddish tint. Post Viet Nam, the military is portrayed as somewhat bumbling. There's an obvious absence of military bravado and swagger, which engenders the story with a sense of realism.

Casting and acting are fine. The chemistry between Caan and Mason seems genuine. The film was shot entirely on-location in Seattle. No film studios were used.

This is a story of dashed hopes, of opportunities lost. Although not for everyone, mostly because of the very slow plot pace, "Cinderella Liberty" is a realistic, character driven story, the kind that's rarely made by contemporary Hollywood.

Cinderella Liberty presents a world of lonely people looking for a little love in their lives. James Caan does a complete turnaround from his Godfather persona playing John Baggs, Jr. -- a sensitive, lovesick and positive sailor who backs into (or does it back into him?) the life of Maggie Paul (Marsha Mason), a pool playing barroom hustler with a biracial son, Doug (Kirk Calloway) whose tough exterior reveals a very sad and lonely boy. This comedy-drama creeps up on you like the love the characters feel for each is slowly realized. Excellent work by everyone here -- but this one bears a repeat watch for the work of Kirk Calloway, who is amazing as the boy and Eli Wallach, Baggs' alter-ego of a what lonely Navy life could hold for him. Look for this gem and go back to a time in film acting when real emotions were all the special effects needed to entertain and touch you.