Well-acted blue collar angst.
Gene Hackman plays a guy in midlife crisis: he's been married to boring Ellen Burstyn for like, forever, and he's just met hottie Ann-Margret in the local bar he frequents. What's a man to do?
This thin Colin Welland script (British screenwriter of the overrated CHARIOTS OF FIRE) is enlivened considerably by Hackman's convincing portrayal of a blue-collar Everyman who's mortgaged his life for work and family to the exclusion of any dreams for himself. The decidedly unmelodramatic arc of his life change and its consequences is relatively rare in American films and is more interesting for it. Look for newcomer Amy Madigan lighting up the screen as Hackman's PO'd but devoted daughter. A wistful Pat Metheny score and Nick McLean's cinematography of unglamorous Seattle locations -- back before it became America's trendiest city -- enhance the authentic feel. Bud Yorkin, Norman Lear's former producing partner, directs to good low-key effect. Worth a look for Hackman/Burstyn/Margret fans.
This thin Colin Welland script (British screenwriter of the overrated CHARIOTS OF FIRE) is enlivened considerably by Hackman's convincing portrayal of a blue-collar Everyman who's mortgaged his life for work and family to the exclusion of any dreams for himself. The decidedly unmelodramatic arc of his life change and its consequences is relatively rare in American films and is more interesting for it. Look for newcomer Amy Madigan lighting up the screen as Hackman's PO'd but devoted daughter. A wistful Pat Metheny score and Nick McLean's cinematography of unglamorous Seattle locations -- back before it became America's trendiest city -- enhance the authentic feel. Bud Yorkin, Norman Lear's former producing partner, directs to good low-key effect. Worth a look for Hackman/Burstyn/Margret fans.
- jckruize
- 13 ene 2002