Mark Twain und ich

Disney produced one of its best works of the 1990s with this charming film based upon memoirs of novelist Dorothy Quick that describe her close relationship with Samuel Clemens, initially published in 1981 as "Enchantment", reprinted as "Mark Twain And Me" in 1999, depicting events from 1907, when the two met while returning to the United States from England aboard the S.S. Minnetonka, until Twain's passing in 1910, with both book and film replete with scenes of surpassing delight and melancholy. Eleven-year-old Dorothy, played well in her film debut by Amy Stewart, was often a guest, along with her widowed mother (Fiona Reid) of the renowned humourist at his New York City town home in Tuxedo Park as well as at his estate in Redding, Connecticut, and from this faithful cinematic adaptation it is readily perceived that Clemens was not merely a bitter pessimist during his last days as is stated by some critics, but rather a warm and frequently jocose individual who cherished his various surrogate granddaughters, of whom Dorothy was foremost in his affections. Jason Robards, in scrupulous makeup created by Kevin Haney, is first-class as Mark Twain, and the piece is directed in his customary sensitively nuanced manner by Daniel Petrie who guides a predominantly Canadian cast and crew with most footage being shot in Canada, as Petrie emphasizes those details that gratify not only the eye (and ear) in every scene, but one's sense of artistic integrity in the bargain. Each player is in surpassing form, abetted by Petrie's craft and superior post-production contributions, with standout execution from Talia Shire as a tragically disregarded Clemens daughter and R. H. Thomsen in a thornily reticent role as Albert Paine, biographer, secretary and sometime amanuensis of the creator of Huckleberry Finn and Tom Sawyer. In the last analysis, those mentioned details constitute the greatest strength of this delightful production with each scene offering savours, aided by an ample budget, but even more through the efforts of cinematographer Francois Protor and editor Paul LaMastra, and additionally a pungent score composed by Laurence Rosenthal, lavish set ( William Beeton) and art (Jacques Bradette) design, assiduously accurate and lavish costumes of Linda Kemp and invaluable post-production sound mixing by both Elius Caruso and David Lee - all under the sterling leadership of the veteran director.

I am never one for the what if an average person meets a celebrity, genre. This one begins very hokey. This is one of the craziest films I can recall, in fact, from a tonal standpoint, it is going between a children's movie, to a character piece, to a period piece, and this ridiculous figure at center.

There is zero resistance to him taking in this family, and not much reflection about it. He might as well be Santa Claus really.

Robards I am not used to him in 'character' like this, behind make-up. It is kind of amazing. He is always an actor of larger than life magic, so seeing him like this is almost too big for the screen.

At the same time it feels he is stranded on screen. Like inviting an impersonator to a party. He is giving it his all, but you sense him lost, wanting to turn to us going, now what?

It is so thankless for an actor, almost exploitative, in the way of celebrity itself. He is a bottomless well of charisma and has to entertain everyone he comes across, you see how exhausting it would be.

If you can get through the silliness of the first half, it settles and director Daniel Petrie's mastery settles in, the way he captures the world, the way the script unfolds, the performances finally have room to settle. It does become the pleasant, beautiful little film it strived to be. The movie was not easy to find, so I am glad I saw it. It is not forgettable, that is for sure.