El precio de una pasión

Update at June 2008

I came across this feature because it is early Bullock, and have started to wonder what happens when one considers this alongside her maturer work, A Time To Kill of 1996.

First, there is a massive quality difference, Preppie is blatantly low budget.

The acting in A Time is solid and real, to me, but Preppie is maybe misunderstood on that point. Look for very weak acting in Preppie I find that it mostly centres on the victim's family. But a couple of girls show it too, even a Heather. Look closer, whenever any actor here has to show deep grief, and the victim's family is rooted in that, then the feel is weak corn. I should interpret the weak acting as due to the direction that the actors received, it likely does not say that they are bad prostitutes.

Both features had me wanting to switch off. I like nice and easy sort of stories and these are not. I found that A Time started to click, I could follow it and gradually get to like it. Preppie, I switched off and came back to try to do some Heather study and then found it to have some interest further than that.

The centre, for me, is the pictures of justice that are shown. Each story includes several understandings of justice and not much clicks with me as including anything remotely healthy. Are these pictures intentionally scary? If this is a portrayal of how many understand justice then this planet is in big trouble. Time has scarier justice from start to end?

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Looking at how I understood justice, to me the idea of individual accountability was marred by questions about free will, free will not being as widespread as all that.

Specialist education as about a potential to be helped, a gentle nursery, towards a fuller free will.

I now look back and discover that education and health in the UK seem more, for me, about leading me astray, towards less and less free will and a decreasing ability re following society's rules.

A belief in the strong individual, about a need for others to Pass The Test, about a dog eat dog world? These two features exploring bits about that.

The killer in Preppie, to me it is so obvious that he is a victim and a disaster too. It is also obvious that when he is – was released from jail that he will be liable to never be properly free because of what I interpret as popular belief systems that fuel an ongoing war against fools. His is a world where the good and the bad play murder games regularly and he is just one of many products of that.

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Harry Potter and The Worst Witch sequels as other explorations re justice and individual development?

A more positive note. Symbolism. At the start of Preppie it felt possible to view this as a New York fashion show with a feature pasted on as a carrier. Except it is only the hat that the victim wears early on that shines for me. The New Worst Witch series, episode one, from England, has even better hats worn by Millie and Cress. Li-Lo's Get A Clue has no equal.

This links with my comment re Hangmen 1987.

This film grinds along at a confusing slow pace for at least half its length. It also has the look and feel of a low budget production. I was debating whether to bail out or to stick it out, perhaps voting a 1 or 2. The glacial and gummy pace of the film is aggravated by some sort of "method" acting in which people mumble, over react, interrupt each other and in striving for a natural quality succeed only in creating a very unnatural one. However after the crime, when the police investigation and the trial start, it becomes rather compelling. So I bumped up my rating. Although I'm glad I stuck it out, my life wouldn't have been much devalued if I hadn't.

US television drama based on a true crime case starring Lara Flynn Boyle and William Baldwin

This television film, directed by John Herzfeld, first aired on ABC in September 1989. It is based on the actual murder of young Jennifer Levin on August 26, 1986 in New York's Central Park, which was known at the time and even after the television film was broadcast as "The Preppie Murder" (based on a preparatory school as preparation for university studies). Attended by both the victim and the perpetrator) attracted great media attention.

Jennifer (Lara Flynn Boyle), a young girl from a good New York family, meets the extremely attractive Robert Chambers (William Baldwin) in a hip bar in Manhattan, falls in love with the great Hech and spends the night with him. The next day, Robert doesn't want to know anything about her anymore. A loud argument breaks out. At dawn the next day, Jennifer's body is found in Central Park, with significant injuries. Robert quickly becomes a target of the police and finally admits to being involved in Jennifer's killing. But here's the thing: He claims that he accidentally killed Jennifer as a result of violent sexual practices ("rough sex") in which he himself was in danger of becoming Jennifer's victim. What is starting now is a media tornado without equal. This story, with its very young and beautiful participants, is a real hit for the New York newspapers. In court, a sleazy lawyer named Jack Litman (as always convincing: Knots Landing star William Devane) ensures that Jennifer Levin's sex life is exploited and that the murder victim supposedly becomes the perpetrator.

This story actually happened and didn't end with the process depicted in the film. The first part of the film is definitely convincing. William Baldwin and Lara Flynn Boyle fit their roles perfectly as spoiled brats who seem to have everything thrown at them. William Baldwin is particularly impressive as a dazzling-looking but somehow disturbingly crazy little boy. In the second part of the film, the court hearing, everything no longer fits together. On the one hand, the aim is to criticize the way the judiciary and the media have dealt with this bizarre case, but on the other hand, there is a lot of speculation regarding Jennifer Levin's alleged preference for certain sexual practices.

A very strange television film that quite and rightly paid off for the future careers of its main actors. The talented Lara Flynn Boyle was part of David Lynch's television series "Twin Peaks" a year later, and the enviably well-built William Baldwin made it in "Sliver" (1993) even becomes Sharon Stone's super sexy lover (and that's also fully justified). It should also be mentioned that the great music comes from Chris Isaak, who would become world famous a year later with "The Wicked Game" for "Wild At Heart" by David Lynch. The later ACADEMY AWARD winner Sandra Bullock can also be seen in a small role.

With a few caveats, it's definitely worth seeing!

Okay, the film was not that great but the story of the preppy murderer, Robert Chambers, played by William Baldwin in a chilling performance. Lara Flynn Boyle plays Jennifer Levin, the victim of the crime. Chambers was the son of a New York City nanny/housekeeper of prominent East Side families who wanted her son to have the same advantages as John F. Kennedy Jr. and Jennifer Levin was a true New Yorker from a family who was well-to-do. He was from the wrong side of the tracks while she was from the right side of the tracks. Her life would end tragically one night in Central Park. Joanna Kerns took a break from her role as Maggie Malone Seaver on Growing Pains to play Linda Fairstein, the prosecutor, and I believe she did a service to the role. The case itself was on the cover People magazine and the New York City tabloids. Of course, Robert Chambers was a good looking man and too nice to be a killer but I think that was why the case brought so much attention. If you have attractive people like Chambers and Levin, you want to know why. If they were unattractive, I think that we would not care for it.

This movie is semi-engrossing, featuring a Brat Pack that never could have been. It is certainly worth watching (in fast forward) to marvel at this strange amalgam of stars that don't really go together - two Heathers from HEATHERS, Sandy Bullock, Lara Flynn Boyle. William Devane is as smarmy as ever; Danny Aiello is simultaneously a sensitive cop and an ass with an inferiority complex (bizarre combination). The Chris Isaak soundtrack (was this a big enough movie to have a big recording artist do the soundtrack?) only adds to the movie's surreality, as does the presence of feisty Joanna Kerns, who clearly has a thing for Billy. I'll admit I was drawn to Billy Baldwin's murderous magnetism, but then I started to think about how dangerous that can be. Remember SLIVER? Remember FLATLINERS?