Amor perseguido

If you like slow-moving, aimless films, you'll probably like this exercise in murky self-indulgence by writer-director Rudolph. I guess I missed the amusing parts that others seem to find. Mostly I was just bored once I realized the story-- if you want to call it that-- was going nowhere. And what's with Berenger's phony voice that only distracts. Sounds like he could use a good gargle. Of course, noir has been parodied before, and truth be told, it's an easy genre to mock. But this has to be the dimmest of the efforts, if parody is in fact what it is. To me the results aren't interesting enough to care. I guess that's one reason the film flopped at the box-office and has since fallen into well-deserved obscurity. And, oh yes, for those who find profundity in the supposed subtexts, I'll leave that to the Midnight Study Group. Good luck.

I saw this film referred to as a comedy, but I hadn't remembered it as such when I first saw it some years ago. I suppose that it is, but it is funny in a wry sort of way, never a laugh out loud way. I don't know where Tom Berenger got that gravelly voice for this movie, but it seems to fit the part okay. Elizabeth Perkins was lovely and good as an angst-filled gal trying to be a private I. It was interesting to see Neil Young in a small acting role. He did OK. It makes me wonder how hard acting really is. Anne Archer was so totally gorgeous, I almost didn't realize how ridiculous her character was. This ended up being a pretty enjoyable film, if you don't go into it with unrealistic expectations. Grade: B

I was one of the (very) few people who saw this in a movie theatre back in 1990. It was a small audience but everybody enjoyed it and I thought this would be a big hit. For some reason though this faded quickly.

Detective Harry Dobbs (Tom Berenger) takes on a case for Miss Dolan (Anne Archer) to track her boyfriend. What Dobbs doesn't know is that he himself is being tracked by female detective Stella Wyntowski (Elizabeth Perkins). They end up meeting and set out to solve a mystery.

Sounds strange...and it is but it's lots of fun too. The movie is always switching tone from romance to comedy to drama yet it always manages to stay coherent and entertaining. There's director Rudolph's excellent use of color and music and a script which goes whipping every which way.

The cast is up to it. Berenger (purposefully?) adopts a gravelly voice and dresses like he just stepped out of a film noir. He perfectly plays the drama and comedy nicely. Perkins has a very difficult role but she grabs it and runs with it. Only Archer is a disappointment--REALLY overplaying her part. Kate Capshaw and Annette O'Toole shine in minor roles.

This is not a easy movie to categorize or explain--you've just got to watch it. It's sort of like a film noir with comedy, style and color...but it's also a romance with a mystery thrown in...OR a comedy with some dramatic moments. It goes all over the map. Beautifully done and well worth seeing.

First off, let me say I love this film. It might seem odd for a normal man of 30, when this film came out. But then, I like musicals, as well.

From reading the comments here and elsewhere, people seemed nonplussed as to how to categorized this film. What clued me in was the confusion it caused everybody.

This movie really is a mystery.

But the mystery isn't in the plot. It doesn't keep you guessing. Or the characters; they're played pretty straightforward. It's the genre. Every time you get comfortable with how it's being played, Rudolph switches it up.

Is it a film noir? Is it a comedy? Is it a love story? Uh, yes.

But that's the beauty of this film.

It keeps you guessing as to what it is.

And Rudolph would have been having a laugh for the past quarter century if more people could see this film for the brilliance it is.

Actually, if more people had seen it.

But now, he's waited so long for people to get it, that well . . .

This film go largely poor reviews, but for whatever reason the films of director Alan Rudolph always get me. A lot of his films seem to exist in their own universe. The noir elements of this film and "Trouble in Mind" feel quite similar, but even his films like "Mrs. Parker and the Vicious Circle" or "Choose Me" seem to exist on their own plane of reality. Tom Berenger plays a hard-boiled private investigator hired by Anna Archer to tail her shady boyfriend, which leads to a Raymond Chandler-esque serpentine mystery. Add in a competing P. I. in the form of equally tough-as-nails Elizabeth Perkins and you have an interesting love triangle of sorts between the three leads. What makes "Love at Large" memorable is writer/director Alan Rudolph and the unique style he brought to an oddball series of films he made in the 80s and early 90s, which seemed to exist somewhat out of time ("Trouble in Mind" "The Moderns" "Mrs. Parks and the Vicious Circle" and this film). These films were throwbacks to another time, but incorporated 80s/90s pastels and neon color palettes, along with modern sensibilities to the characters and situations. Composer Mark Isham's score also nicely balances a score that feels period yet also contemporary. Although the "Love at Large" meanders and is slow at times, the cast, which also includes Ted Levine, Kate Capshaw, Ruby Dee, Kevin J. O'Connor, Annette O'Toole, Anne Magnuson, and Neil Young, and Rudolph's visual style make the film well worth watching for fans of old school noir and 80's indie flicks. FUN FACT! "Love at Large" was filmed primarily in Portland, Oregon.