Spanglish

Gregory Nava's "El Norte" was a memorable journey into the Latino experience in white wealthy country. That masterpiece had a heartbreaking scene between the Latino maid and a washing machine. "Spanglish" merely hints to a similar moment between the Latino maid and a coffee machine. The "merely hinting" is at the heart of this painful comedy of manners. This is the journey of an observer not of someone who actually lived it. As a consequence he treats his own with an iron hand and the others with a romantic, heroic, fairy taleish sort of slant. Putting aside the potential seriousness of the story, the film is a moving, entertainment fantasy in the land of opulence and guilt. The borders here are not geographic but personal, the aliens are the natives. They become illegal in their own existence and step all over their own lives without noticing, trying to care, trying to be the best they can possibly be but without points of reference or enough substance for their acts to have any kind of real meaning. Tea Leoni gives a performance of such fearlessness that sometimes you feel she may jump out of the screen. Cloris Leachman is great as an alcoholic wise woman who doesn't want to be judged. Paz Vega represents the ideal Latin heroine in a wealthy American's story. She is beautiful and powerful and utterly unlikely. Adam Sandler is Adam Sandler and seems to stand passively between the blonder than blond world of his wife and the exotic gorgeousness world of his maid. I would like to know what happened to Paz and her daughter after leaving behind the chances to be or become like everyone else in the white wealthy country of make believe, or is that too much to ask.

This is a story about an undocumented Mexican woman named Flor (Paz Vega) who moves to the U.S. with her daughter. The story is told via flashback, through voice over by the daughter Cristina (Shelbie Bruce), who wants to attend a prestigious university.

As one might expect, there is a culture clash between Flor and the white family that employs her services for household help--especially as personified by Deborah (Tea Leoni), the mother. It should be noted that Leoni and the entire cast give fantastic performances, even if some of the portrayals are written as caricatures. Adam Sandler, who plays the father, John, is particularly fun to watch, because he mostly plays his character straight, without his usual comedic embellishments. I was most impressed by Sarah Steele, who plays the teenage daughter of Leoni and Sandler.

Much of the story is intended to be comedy, though it deals with social issues that go well beyond the disconnect caused by the fact that the two mothers do not speak a common language. The film has a definite perspective about the various cultural issues it addresses, but it is only partially convincing in its arguments.

I found the film to be disjointed, but that did not bother me. There is so much to appreciate in the story of the two families.

When I heard the title and learned that Adam Sandler was in this movie, I had very low expectations. Boy, was I surprised. This is a wonderful film, not at all the low-level fluff film I expected. All the female actresses, young and old, are absolutely terrific, and Adam Sandler does a respectable job in a semi-serious role. The writing is very clever, and the film will elicit laughter as well as tears. I found my self still thinking about the movie the next day, something that all too often doesn't happen with today's highly forgettable films. One caveat: this is really a movie for teens and up, not a kids' movie. Aside from a bad word or two and a (hilarious) sex scene, the underlying themes are quite adult. Enjoy!

Spanglish navigates between drama and comedy with a strong cast and moments that capture the complexity of human relationships. However, its narrative lacks a clear storyline, unfolding more like a mosaic of interactions and conflicts among its characters.

The story is narrated by Cristina, a 17-year-old girl, as a tender recollection of her mother, Flor. Through her Princeton admission essay, the film explores her family's immigration journey, adding layers of emotional manipulation to the narrative. Flor, who learns English to better connect with the family she works for, brings invaluable common sense to a household filled with chaos.

Deborah (Téa Leoni), meanwhile, is a neurotic woman going through an identity crisis after losing her job as a commercial designer. While her behavior often crosses the line-like when she buys her daughter Bernice smaller-sized clothes to "encourage" her to lose weight-Leoni manages to make Deborah humanly endearing, even when she constantly oversteps boundaries. Her lack of consideration gives Flor an opportunity to shine with her intelligence, while Bernice and John (Adam Sandler) eloquently express their indignation, allowing the audience to draw its own conclusions.

Adam Sandler delivers a surprisingly authentic performance as John, a chef hailed as the best in America by The New York Times. While one might expect his character to be a perfectionist tyrant with anger issues, John turns out to be a sweet and genuine man-reminiscent of the lovable characters Sandler is known for. His moments with his daughter Bernice, portrayed with freshness by Sarah Steele in her film debut, are heartfelt and stand out as some of the most memorable in the movie.

Though Flor is endearing as a mother and central figure in the story, Paz Vega's character occasionally feels unreal in her reactions. Some of her decisions seem overly idealized, which detracts slightly from the credibility of her role in such an intimate and human context.

Despite its gaps in plausibility, Spanglish remains compelling, mainly because of the emotional connection it fosters between its characters and the audience. While it's not always a cohesive story, its ability to depict the ups and downs of family life and cultural tensions makes it a worthwhile journey.

Adam Sandler returns to romantic comedy/drama in Spanglish, written and directed by James L. Brooks, who has fine tuned the genre with excellent scripts and sensitive acting (Terms of Endearment, As Good as It Gets). It doesn't quite measure up to his best work, but that's still saying something.

Deborah Clasky (Tea Leoni) hires a housekeeper/cook, Flor Moreno (Paz Vega), who doesn't speak English. Flor, a single mother, has a teenaged daughter, Cristina, and the two eventually move into a summer beach house with Leoni, her two kids, and husband, John Clasky (Adam Sandler), a world renowned chef. Deborah is a nervous, controlling type A personality, who has recently lost her job and begins to question her worth. Her subsequent actions such as lowering the self esteem of her overweight daughter, Bernice, and doting over Flor's daughter without mother's consent starts a sequence of events that pulls the two families apart and draw two frustrated, lonely people together, namely Sandler and Vega. They connect, of course, but what they do about it forms the focus of the storyline. At times this film thematically recalls classics like Roman Holiday or Brief Encounter.

The film begins in such a manner to make one think that it isn't anything special but builds its story and characters into solid foundations until you begin to care about what happens. This is almost two films thematically. There is the developing love story between Sandler and Vega, and there is also the story of Vega, the mother, and her daughter. This is not just a family torn apart or a budding, forbidden romance, it is also the core mother-daughter dynamic seen though the teenaged daughters and their respective mothers. The narrative from Cristina's point of view recalls I Remember Mama. And let us not forget the relationship of Deborah and her own mother (Cloris Leachman-a Brooks alumnus from The Mary Tyler Moore Show). The ending is a bit open ended for one storyline while the other is resolved quite nicely.

At times, the dialogue (a good portion is in Spanish and cleverly translated or communicated through context without subtitles) is crisp and sharp and other times, the story seems to tease without delivering and seemingly loses track until it gets reeled back by a brilliant line or two. Some of the situations seem a bit forced or going nowhere but Brooks has spoiled his audiences with his top flight writing over the years. It is remarkable that he can show lesser filmmakers how to write and construct a superior screenplay about people that an audience cares about. He makes stories about people that matter.

Tea Leoni is good in her role as the neurotic housewife who becomes self absorbed. At times her character downright grates on the nerves, and you wonder how a man like Sandler's compassionate, loving husband/father, puts up with her behavior. Sandler does fine with his down-to-earth, dramatic role which contrasts with his quirky romantic in Punch Drunk Love. One wonders what a stronger persona like Brooks alumnus Jack Nicholson or even Tom Hanks would have done with his role. All the supporting roles are effective as usual. Leachman registers as the mother who consoles her adult daughter and is the voice of reason despite being the family alcoholic. Even the family dog becomes a small but noteworthy supporting character. There is also an amusing cameo by Thomas Haden Church who plays a character not unlike his more substantial role in Sideways.

Production values are strong across the board particularly in the cinematography by John Seale. But it's really all about the writing and the acting. The film feels like it wants to be something more but settles for the quality of a moderate Brooks film like Broadcast News. The film will elicit laughs and some tears but it is consistently engaging. Wouldn't it be nice if more films could even reach that level of writing and acting? Is this a great film? No. It is merely a well written story, and that's pretty good on its own.