Frankie und Johnny

Very pleasant love-story that wouldn't have been this good without the great performances by Pacino and Pfeiffer. Pacino is the cook with the romantic heart who just got out of jail (of course he wasn't a real criminal) starts working in a Greek restaurant and falls in love with Pfeiffer, the waitress, who just wants to watch videos and eat pizza after a few bad love-experiences. Pacino has to do a lot (read Romeo & Juliet, dance like a madman, chop vegetables and be very patient) to win her love and is finally helped by the sound of Debussy's 'Claire de Lune'.

This film has been overlooked by everyone I know and to me it was one of the best movies of 1991. I didn't think the chemistry between Al Pacino and Michelle Pfeiffer would be any good, but their on-screen romance was very enchanting. Garry Marshall did a great job directing this movie and Terrence McNally translated his play to screen beautifully. All the characters in this movie could have had a film of their own. My favorite character is Nathan Lane's portrayal of the gay neighbor. Lane is very funny and I love the way his character encourages Pfeiffer's character to fall in love. Falling in love can be dangerous, exciting, scary and blissful all in one night. This movie captures love in a way that made me feel really good.

This film is simply great. One of the reasons I like it is that here romance is not reduced to some sappy idealistic fable, but is instead shown as realistically as life itself. There are no fantastic events or stretches of plausibility here. Just great performances and a well-written story. In short, this is what real movie-making is all about.

The first time I saw this movie, I fell in love. The second time around, I was already in love, watching it with my love who also fell in love and now we're all in love. All because of this movie.

Set in New York, the movie deals with loneliness, different ways of coping or letting go, it deals with love, the yearning for it and also the fear of it, this magical feeling you almost don't dare hope for. The simple but genuine approach to these important themes makes the story stand out and makes you want to believe, because deep inside you already do.

You can tell the movie is based on a play, primarily because of the special atmosphere created by the careful progression of the story, scene by scene, not to mention the wonderful and individual characters we get acquainted with. Both Michelle Pfeiffer and Al Pacino make outstanding performances and the on screen chemistry between the two is perfect.

This is an absolute must see for all you dreamers out there, and if you ever come across the play, you probably should check that out as well. Remember, the elephant must face the window and a VCR will never be a substitute for love. Sit down with this movie, and I promise you, from the first shot of the Greyhound accompanied by Terence Trent D'Arby's wonderful title track, you'll never want it to end.

You have to give the filmmakers credit: they did attempt to deglamorize Michelle Pfeiffer to fit into Kathy Bates' off-Broadway role of a waitress with no prospects who finds herself attracted to the new cook at the restaurant. Michelle's innate sparkle manages to shine through the dowdy clothes and plain-Jane appearance, and yet the miraculous thing is, her casting doesn't hurt the movie and her performance is one of the best things about "Frankie and Johnny". Pfeiffer and Al Pacino are a good screen match, and if they don't especially resemble the characters they're playing, they at least don't throw the tone out of whack (this is a Garry Marshall movie after all, so it's bound to have a bumpy narrative). Terrence McNally's play was about hard truths and sex on a low income; this is a big, charming commercial comedy-drama, directed with energy but no real flair. Pacino lays on the Prince Charming-pizazz a bit heavily, and Nathan Lane works overtime at being adorable as the proverbial gay best friend, but it certainly isn't a bad movie. It works on a certain level, even if it doesn't resemble reality or the original play. *** from ****