Sommersby

There's a clever idea serving as the basis for this film: A farmer returns to his village after fighting in the American Civil War and subsequently being imprisoned for desertion, and turns out to be a much better and compassionate husband and townsman than he was before he left. What has made him change? The period elements are well done initially, and the story is told with an agreeable rhythm by director Jon Amiel (later of Copycat and Entrapment). With a big budget and stars Richard Gere and Jodie Foster trying their hand at the 1800s for the first time, there's a lot at stake for Sommersby. And it ultimately shows, because the picture plays it safer and safer as we get closer and closer to the denouement of the mystery. There's a drawn out segment from a courtroom which feels more like the 1993 version of Richard Gere explaining the plot of a period picture than the charged climax it should have been. Gere and Foster are fine in the interpersonal segments and the everyday life in the village, but they cannot help coming off as anachronistic during said trial. It's partly Amiel's fault, of course - he strips away the story's edge and pain and replaces it with a docile romance aesthetic. Based on the 1982 French film Le Retour de Martin Guerre, which in turn was based on real events from the 16th century.

In events occuring before the time line in the story, Homer meets and gets to know his double, Jack Sommersby, in a Civil War prison. When Jack dies, Homer decides (for reasons barely hinted at) to impersonate Jack and take up his life where it had left off before the war six years earlier.

Viewers who have trouble accepting this story's basic premise and its subplots must not understand denial, the strongest defense mechanism of all. Laurel believes the returning soldier to be her missing husband because she wants to -- as does her son, and indeed the whole town (with a few menacing exceptions). This new guy is nicer than the other one. He is good to his wife, his kid, and his poor struggling neighbors, inspiring them all to work together to save the community at large from certain starvation if things do not change. In short, they all *need* this Jack Sommersby; therefore, he must *be* Jack Sommersby.

When folks are in denial -- does anybody not believe in mass hysteria? -- discrepancies are often overlooked, and reality is suspended. If that is hard to swallow, then consider that some folks were well aware of Homer's impersonation (if not his true identity), but chose to ignore it because it was in their best interests to do so.

The courtroom situation is another area where viewers have remarked on non-reality. But this may be chalked up to historical artifact. With today's high levels of movie/TV courtroom drama, and even genuine courtroom TV, this century's viewing audiences are far more sophisticated than the actual participants of court proceedings of the mid-19th Century, even among many lawyers and judges of the era. I had no trouble believing the courtroom of a small, largely uneducated community might have gone just the way it did in this movie... ...except for one thing, where all belief is suspended: the black judge, presiding over a southern courtroom, just after the Civil War. If there actually were any black judges in existence then, my guess would be that, like the few practicing black MD's, they were restricted to cases involving blacks, Native Americans, etc -- and not the trial of a white (and formerly rich) landowner.

Yet this plot device does not get in the way of my enjoyment of the movie over all. The judge strives mightily to be impartial, even with those townspeople who would not be so with him. Their rabid hatred of his race cries out for justice; therefore, the judge appears to provide it, with almost comic relief, precisely at a point when the tension demands it.

A haunting, well-told tale for those who appreciate depth of character over high-paced action for its own sake.

Oh what a gorgeous woman.. (repeat until tongue seizes!).

This movie is OK, but, the screen lights up at Miss Fosters performance and presence.

Previously I didn't think twice about Miss Fosters appeal other than as a top drawer actress. But now I think differently.

Now all I need is for Miss Foster to take another feminine role, in a film with a good story and I'll die happy.

This is a sweet film with noble causes and a grand love story. I've seen it umm, 4 times? now... An improbable story, but moral, epic, just after the civil war, of an imposter southern gentleman returning to his run down plantation, wife, child, and joining all together, black and white, to bring a tobacco farm to being, against great odds, and prosperity to the town.

But the man he is posing as must be prosecuted as a criminal... the imposter can continue the ruse and die for the crime, or confess his true identity, and undo his love, his work, his community. He must prove to the court that he is indeed Jack Sommersby, and must extract Fosters (his wife's) testimony, against her will, that he is Jack Sommersby, because as Jack, he will die. A few grand lines... when Foster must say that he is indeed her husband, that she never loved "Jack the way I loved you" and Gere, in his cell, asks her to be there at his hanging "I can do this thing if you are there."

I've enjoyed it each time I've seen it, and it brings grand tears each time.

For the most part I found this movie to be nothing more than a routine movie about a man who may not be who he claims to be. But then, somehow, the last twenty minutes or so struck a chord with me and made the whole thing worthwhile.

Richard Gere plays Jack Sommersby (or does he?), a Confederate veteran of the Civil War who returns home after several years in a Federal prison camp. He is accepted by the townsfolk and by his wife, but he is a changed man (war could do that) and suspicions begin to rise. Ultimately, the question of his true identity becomes a life and death issue when he faces trial for murder. Is it or is it not a case of mistaken identity?

Richard Gere handled this role superbly. I was very impressed with him. I was less impressed with Jodie Foster, who seemed terribly miscast to me. Be warned: this is not a fast-paced movie, and it sometimes bogs down, but it manages to hold its own. Not a classic by any means, but worth a look-see.

6/10