The Hotel New Hampshire

This offbeat and quirky comedy is a bit too pretentious to work. It's an interesting cast, and most try but none of the characters are likable. They are too dysfunctional and bizarre and director Tony Richardson never develops them past the superficial characters they are. It goes on way too long for a film of this type. It's very disjointed and never appeals to the viewer like it should. And even though the humor is dry, I was rarely amused. Richardson's quest to be avant-garde and original misfires and we are left with a cold film with no substance. Rob Lowe is in over his head, Jodie Foster is quite good though, and Paul McCrane and Wilford Brimley do well. The rest of the cast is unremarkable.

(1984) The Hotel Of New Hampshire DRAMA/ COMEDY

Co-written and directed by Tony Richardson which is supposed to be a faithful adaption of the John Irving novel, centering on a eccentric family or the oddest family standing by their fathers ambitions involving running a hotel calling it "The Hotel New Hampshire". Some of the oddest situations also include, the bear who rides bikes, incest, girl (Natassia Kinski) wearing a bear suit, the girl who never grows but has ambitions to become a famous writer and more.... all interwoven into this movie with the only thing they have in common is that it centers on them.

Plenty of very bizarre situations similar to Monty Python comedy sketches as well as films, but goes to many directions I'm incapable to understand. Actor John (Rob Lowe) does the narration and Jodie Foster plays his sister, Franny and the father is played being played by Beau Bridges.

Well, no that is probably hyperbole. I thought this movie was disjointed and difficult to grasp. Whereas Garp was a strange movie, indeed, it at least managed to capture some essence of flow. Hotel New Hampshire was choppy and more like a series of stories than one whole story. The elements that dragged the pieces together, like the Dog Who Would Not Go Away, etc, gave a comical lift to the otherwise tragic and painful story.

On an off note, the ratings for this movie listed its R rating as being caused by Language, Violence, and Nudity. It neglected to mention the rape. For those who have no desire to witness something on those lines, here's your warning should you have not read the book.

This is a story about life and the many facets of love, dreams and aspirations, and the journey of discovery we all have to make in our own way in our own time. But the single thread that runs through the film and ties the characters and their lives together is sorrow; and in this instance, using an extremely overt metaphor, `Sorrow' is the family pet-- a dog-- who comes to symbolize a seemingly prevalent condition of the Berry family in `The Hotel New Hampshire,' written for the screen and directed by Tony Richardson, adapted from the novel by John Irving. The story centers on the Berry family, a close but eccentric clan, and is told from the perspective of John (Rob Lowe), who tries to make sense of his too familiar relationship with his sister, Frannie (Jodie Foster), his gay older brother, Frank (Paul McCrane), his literally `little' sister, Lilly (Jennifer Dundas) who `isn't a midget,' but who stopped growing too soon, the youngest of the bunch, Egg (Seth Green), his grandfather, Iowa Bob (Wilford Brimley) and his parents (Beau Bridges and Lisa Banes).

John's father, Win, was a dreamer, or as Lilly called him, a `Gatsby,' always looking for something better, for `it.' Win and Mother Berry had met one summer working together at a hotel, and when Win tires of his job as a school teacher, he decides their town needs a hotel. So he buys an abandoned building that suits his needs perfectly, and transforms it into a hotel, the Hotel New Hampshire, owned and operated by the entire Berry family. And it is here that the memories of his formative years are made for John; memories like struggling with his love for his sister while she lives through a particularly traumatic experience that involves a boy of whom she is enamored, Chip Dove (Matthew Modine), and tasting love himself for the first time with a waitress at the hotel (Joely Richardson). It is also at this time that he experiences a death in the family for the first time. And, as it is in life, it won't be the last; nor will it be his final encounter with tragedy and sorrow.

In this film, Richardson touches upon a number of themes that at one time (and not that long ago) would have been considered taboo in a film: Homosexuality, incest and interracial relationships. And he does it successfully by weaving them into the story naturally and objectively, without expounding upon or exploring them simply to enhance the drama. This is simply the story of the Berry family, for better or worse, with John telling it like it is while refraining from any sensationalism or judgment calls, to which the likes of a film of this nature would ordinarily be disposed.

Lowe gives a convincing performance as John-- arguably some of the best work he's ever done-- and he underscores his role of narrator by making the story as much about the others as about himself, which is generous, and a good piece of acting. Foster, who would've been twenty-one or twenty-two when this was filmed (1984), displays an insight, poise and maturity well beyond her years, with a performance that is intuitively discerning and believable, and which serves the character so well while bringing her vividly to life. There is such a natural quality to Foster's acting that it makes her a joy to watch, and it makes Frannie a memorable character. The young Dundas is also very impressive in the role of Lilly and, like Foster, manages to bring the necessary maturity to the character that makes her entirely credible.

The supporting cast includes Wallace Shawn (Freud), Dorsey Wright (Junior), Cali Timmins (Bitty), Anita Morris (Ronda Ray) and Walter Massey (Texan). The film is by turns poignant, funny and disturbing; one could say a succinct reflection of life. And, diverse as this story is, thematically, there will undoubtedly be one aspect of it or another to which just about anyone will be able to relate. Because that's what life is; a journey we all share, but which we take on different roads that sooner or later are bound to intersect, and which becomes the point at which we realize something that's inescapable and possibly the most important thing we will ever learn: That we are not alone in this. And, in the final analysis, that is what `The Hotel New Hampshire' is all about. And that's the magic of the movies. I rate this one 7/10.

This is a perfect example of why good, literary novels shouldn't be made into films. I read this book (along with his other best-sellers "World According to Garp" and "Cider House Rules") back in the 80's when they were published, and I thought they were great, serious works of fiction full of colorful, off-the wall characters fleshed out in engaging prose. Unfortunately, all of this is lost in this film adaptation.

I don't know who Tony Richardson is, and if he directed any other movies, but if they are as poorly-lit, badly-recorded, ineptly edited, and haphazardly narrated as this one is, I'll pass.

Although the movie sticks pretty closely to the original, it just doesn't work on the screen. The first third of the book, dealing with the first Hotel New Hampshire, is truncated into a five minute, voiced-over series of vignettes under the opening credits. This is all of the movie you need to see, because the director uses his entire bag of tricks here.

We seem to enter in the middle of a story, one everyone (except you) seems to already be familiar with. Random characters and situations are thrown at you, with no apparent continuity, sense, or narrative flow. When the story gets dark or uncomfortable, the director resorts to cheap gimmicks like fast-action photography. It may have been funny when the Keystone Kops did it, but it is most definitely UNfunny here.

Wallace Shawn, sporting a bad wig, motorcycle jacket and towing a performing bear, shows up and just as suddenly, disappears. (We do encounter him later in the film, but now he's bald and blind, and although he's back in his native Vienna, his German accent seems to come and go mysteriously. It's also 10 or 15 years later, apparently but somehow he's the only one who is any older.) Rob Lowe looks pretty and vapid. Jodie Foster looks sexy, talks dirty, and acts tough. Beau Bridges just looks befuddled most of the time. And the actress (whoever she is ) who plays the mother has such a tiny part that she barely registers.

Incest, rape, murder, accidental death, suicide, radical German nihilists with bombs, pornography, and a lesbian in a bear suit are all in this movie, and it's all BORING.

All I can recommend is that you read the book. Everything that is confusing, depressing, and just plain weird in this movie makes great, if quirky, sense in the book.