Colgadas

Some very good performances help this otherwise forgettable film about the relationship between the three daughters (played by Diane Keaton, Meg Ryan and Lisa Kudrow), of a dying man (Walter Matthau.) There isn't anything particularly noteworthy about the story itself. Told largely in flashback style, we see how the father-daughter relationship evolved over the years from a happy, loving one through the breakup of the parents and into the last days before Lou's death. The movie features fairly typical scenarios of the types of things that might cause family breakdowns (divorce, alcoholism, sibling rivalry, etc.) There are some humourous moments, but all in all I found myself largely disappointed by the story.

As I mentioned, though, there were some good performances which lifted this from a bad one to the ranks of mediocre to average. Meg Ryan was particularly good as Eve, the daughter who bears most of the responsibility for caring for Lou. She's guilty of a bit of overacting at times, but is definitely worthy of the leading role. Walter Matthau played Lou very well - but, of course, he should have been accustomed to playing crotchety old men by that point in his career. There were some surprise performances as well. Lisa Kudrow demonstrated more acting ability than I expected from her based on having watched "Friends" a few times, and, in a very limited role, Duke Moosekian was really quite funny as Dr. Omar Kunundar, whose car Eve manages to damage in a car accident. On the negative side, I was also surprised by what I thought was a very below average performance by Diane Keaton (who also directed, and who, in my opinion, showed no great talent as a director.) She simply began to grate after a while.

The best word I can come up with to describe this movie is bittersweet, both in the story of how a seemingly happy family turned out to be so consumed in anger and jealousy, and in the sense that the movie had possibilities, particularly in the strong performances I mentioned, that just didn't seem to add up to anything. Generously, I rated this as a 5/10.

Telemarketer irritation--that's the feeling I had when I watched Hanging Up, an almost cartoonishly clichéd "woman's movie." Diane Keaton's direction of this mess is so incompetent that I hope she never stands behind a camera again. The movie fails on every level--it bored my wife and daughter (and it's only because I'm anal about finishing movies that I sat through 95 minutes of Hell; they went to bed).

This was Walter Matthau's last movie, and it hurts to see such a premiere talent being wasted (although his toupee looks as if it could live on). Meg Ryan appears to have lost weight for Hanging Up (if that's possible) and seems to be carrying the mass of the world on her shoulders, physically dissipating in front of our eyes while wearing one paper-thin muscle shirt after another. Looking scrawny and bra-less isn't appealing to anyone.

Okay, enough for the nastiness. This really is a waste of film stock. Whatever BIG messages it has about sibling rivalry and familial relationships and keeping your accident from your insurance company are lost in Keaton's attempt to play cute and/or sweet (the dog and the pill; the Iranian mom).

The movie's called Hanging Up. My suggestion is to take the phone off the hook before the opening credits.

I saw this movie because of the stars. I love Keaton, Ryan and Kudrow. As the "story" unfolded before my eyes, and what I saw was horrible. Plan and simple.

I can not believe that Diane Keaton, one to the best comedic actresses around would let herself make two of her worst films,

(Hanging Up and Town & Country)

right after two of her funniest films

(The First Wives Club and Father of the Bride 1&2).

Is she trying to end her career?? And picking this to direct?? I don't see ANY directing going on here. Maybe if there were it wouldn't have been a MAJOR waste of my time and money.

Do not watch this unless you are under heavy medication.

I rented this movie (`Hanging Up') and I found it devastatingly effective.

At the center of the movie is Meg Ryan, whose movies I've not seen a lot. Her character, Eve, is really the fulcrum on which the whole movie balances. Much as her character's car is boxed in by a parking-garage accident early in the movie, I got the feeling that the movie was a meditation on whether her life is of her own choosing and making, or whether it is something she has largely been trapped into.

Part of the art of the movie is, I feel, that the character doesn't really know. This isn't made explicit in dialogue -– rather, you can see it in her face as she repeatedly goes through situations in her life. And in her reactions to those situations, you can see the many little waves of emotion sweeping over her, all vying for the upper hand. It's as if she's perpetually trying to find her place and regain her balance.

And this may be what some people who saw the movie and didn't like it don't see: at times, you wonder if she's really going to crack. An example is the brilliantly conceived set of characters represented by Eve's mother (in a brief appearance by Cloris Leachman) and Eve's husband (who has slightly more screen time). Each very clearly rejects Eve's father. But, in doing so, each of them places, perhaps unwittingly, a huge demand on her. For Eve, to live in the world that is dictated by others' expectations and reactions, whether reasonable or unreasonable, is to deny herself. And yet, the paradox is that, while her continued interactions with her father and sisters represent a possibly destructive degree of self-denial, in all the caring she dispenses to others, she is her best self. Her use of the phone is the clear metaphor for that – she can't stand to stay on it, and yet she can't stand to stay off of it.

Diane Keaton's direction is very impressive in the movie, in my opinion. The staging and editing are first rate, and really frame the story beautifully. Her acting performance in the film is a little awkward, but her ability as a director to really get the actors to play with a subtlety and spontaneity in their reactions to each other (particularly in scenes between Meg Ryan and Lisa Kudrow) is very skilled.

I think that if a viewer sees the movie as just a light comedy or a succession of gags, they have really missed the point of what Diane Keaton is trying to do. I find that hard to fathom, because Meg Ryan's central performance clearly is meant to showcase the character's essential emotional confusion, and I feel like the direction emphasizes this repeatedly. Maybe some viewers are distracted by Meg Ryan's beauty, which may have had the effect of setting up some distance between themselves and the character. It could be argued that Keaton allowed Ryan to be so well dressed, often in extremely flattering outfits of pastel colors, that it's hard to take seriously that the character could be an emotional mess. Eve may have inadvertently been robbed of some of the character's gravitas as a result.

I see a lot of darkness in Walter Matthau's character as well, but the affection between him and the Meg Ryan character is also very clear. Adam Arkin contributes a fine supporting performance in the movie as Eve's husband. His character could have easily been so blandly cast that it would have sunk right into the background, but he is a confrontational, yet gentle, force in Eve's life, and helps call the question as to whether Eve's life is in the state it's in by her own choice or not.

So, to sum up, I think that to dismiss `Hanging Up' as a heartwarming bauble is to miss a lot. The central character is a woman that is pulled and tugged in so many directions, all in the midst of a life that looks deceptively normal given her stresses, but is really one that remains hers to define. By the end of the movie, you can see in Ryan's expressions (and judge for yourself) the degree to which she has, or has not, come to a level of acceptance about her lot.

The best scene in this Diane Keaton-directed film has drunken dad Walter Matthau showing up at a kid's birthday party bellowing and vulgar, but it doesn't belong in a comedy. It's more like something out of "Shoot The Moon", which Keaton starred in, and would fit much better in a film with a darker tone. "Hanging Up" wobbles around in search of appropriate emotions, but Keaton just can't get a consistent rhythm going. Her performance as the eldest of three unhappy sisters is also wan (she's winging it), however Meg Ryan as the middle sister has some fabulous moments: she hugs a coffee machine, she tries to convince her husband that driving a wrecked truck is going to work for her, she tells off her father but cries because she loves him. This is a performance well worth watching, but the picture definitely needed a director with a tighter grip on the reins. ** from ****