CrissCross

It's amazing how Goldie Hawn is almost always overlooked when she tries to play it serious, even when she's good. A perfect example of this is 1991's "Crisscross," dealing with the special relationship between a young single mother and her twelve-year old son.

Set in Key West, Florida, just prior to the first moon landing, the film is loaded with atmosphere, and the Key West scenes are beautiful (Amazing how the only film that ever shows how it can be during the hurricane season was the Paul Hogan/Elijah Wood "Flipper." But I digress.). Best of all, though, are Hawn and young David Arnott, as mother and son, both giving understated, believable performances. Young Arnott, especially, should have had a major career ahead of him. As it was, this was his only film role. Does anyone know what became of him?

The supporting actors are good, as well, particularly Arliss Howard as the writer Hawn falls in love with, and the actors, whose names escape me, playing the characters of Emmett, Bugs, and Termina.

This film is a true hidden treasure. Watch it, and you have a real treat in store.

Of course it was no blockbuster, but just a nice, unglamorized story from a page out of the life of this fractured family. You could really get a feel for the time, and the soundtrack served that well, as well as the backdrop of the moon landing. It really brought back those sweet, sultry memories of long, carefree summers and young love. I think almost every note was true to life, even if the ending was a little too pat. Goldie Hawn did a great job with this more dramatic role (and still looked great!) and her co-lead, David Arnott, gave a realistic yet understated performance. David Carradine's part was brief and somewhat shallow, but still effective in conveying the emotional fallout from the Vietnam experience, however; it certainly wasn't a "Jacknife" caliber role. The scenery and atmosphere of the movie was beautiful and really made you feel like you were right there. It made for a nice Sunday afternoon viewing.

This is one of those movies where the user rating seems strangely out of step with the comments on it. With one, barely worth the mention, exception, all those who have commented liked the film. I too found it a very pleasant diversion and a film that I have happily watched several times.

To my way of thinking young David Arnott does a terrific job and is absolutely charming. He plays Chris, a completely innocent kid who gets on the wrong side of the law, when he sees an opportunity to get enough cash to rescue his mother, Goldie Horn, from her new job as a stripper. It is a big ask to take a 12-year old lad with no acting experience to play what amounts to the lead in a movie and to narrate it too. It is also asking a lot for him to have to be filmed briefly in the buff in one scene. If he had a problem or two, it is hardly surprising. Nevertheless, it is his innocent charm which carries the film. There is also a nice chemistry between David Arnott and Goldie Horn.

I sincerely hope that this was not another case of the critics massacring a movie and with it a promising kid's career.

Almost no other motion picture so deftly captures the look, water, grit & sensibility of Key West in 1969. Excellent camera work (Ivan Strasburg), coupled with inspired lighting lend the true taste of America's southernmost island on film. Chris' (David Arnott) despair that his mother (Goldie Hawn) sells her sexiness at a local strip bar, plays counterpoint to his emerging manhood shared with girlfriend, Termina (Christy Martin). The crafty screenwriter (Scott Sommer) use the first rocket to land a man on the moon, as an effective time in which to set the story. It becomes a powerful phallic symbol as the boy growns to manhood. Another terrific use of symbolism is seen when the automobile carrying Chris and his mother across the Seven Mile Bridge breaks-down. The image is a visual metaphore for the of the pair in opposition. The Chris fixes the car represents his growing ability to control the world around him. The scene is also visually stunning. There are plenty of other symbolic touches used in this sweet and somewhat overlooked film.

Young boy in the Florida Keys in late 1969 keeps tabs on his exotic dancer mom while mourning their separation from his Vietnam-scarred father. A curious choice for star Goldie Hawn, who must've seen this as an opportunity to stretch a little bit without verging too far from her proved persona; newcomer David Arnott is well-cast as Hawn's son and has an amazingly deep voice, a forthright manner and an easy gait (he's really the star who is born here). The script, which is likably littered with beach bums and hotel-residing characters, isn't particularly pointed, nor does it leave us with much at the end, but Chris Menges' direction pulls every ounce of beauty from it. When Goldie's car breaks down, it's on a concrete bridge overlooking a melancholy stretch of ocean; when Hawn and sports-writer Arliss Howard have a heart-to-heart, it's on the beach during a brilliant red sunset. This great-looking picture is a real beauty, although it is lackadaisically paced, extremely low-keyed and takes a while to expose its heart and reach its audience. *** from ****