Recuerdos de amores pasados

I have spent many pleasant hours mocking "How To Make An American Quilt" to friends, but at this moment I want to play fair. I'm sure that there are many things to like about this movie and that somehow they escaped my notice. For me it was never more than a series of plot devices stitched together (ha ha) to form an unsatisfying story.

Winona Ryder is always a pleasure to watch. I've liked her better in more irreverent titles like "Beetlejuice" or "Heathers". Still, she wears earnestness well, and manages to make bearable the Poloniusesque quilt speech at end of the picture (see the quotes section).

The supporting players should be every bit as watchable (with several centuries of acting experience among them, they ought to be). I wish I'd been allowed to watch them act. Their function was to sit in front of the camera quilting and say a few words of introduction before the flashback--as if they were hosts of a documentary.

I want to pause for a moment over Maya Angelou's casting. It's always a tricky thing introducing a famous person from another discipline as an actor. I call it the "Hey, you're Kareem Abdul-Jabbar" problem (based on the scene from _Airplane_ where a kid recognizes the basketball player in the co-pilot's seat. The joke is in how much time he spends denying it). Maya Angelou has screen presence, but does nothing to dispel the problem. My dominant experience watching her was, "Wow, they got Maya Angelou, world famous poet!" Maybe this was the idea. Maybe the filmmakers felt her famous presence would, in itself, add depth to the proceedings, so why muddy it with anything as messy as an interesting character? Her appearance was less acting than promotion. Maya Angelou wouldn't appear in a dog, would she?

Well...

The plot reminds me of a line Robin Williams had about alcoholics, "You realize you're and alcoholic when you repeat yourself. You realize you're an alcoholic when you repeat yourself. You realize, oh dammit." Each woman's story follows a similar pattern. Girl meets boy, sleeps with boy, marries boy, boy leaves, boy comes back--each time unconvincingly (I wonder how far any guy has ever gotten with the opening line "You swim like a mermaid"). The Alfre Woodard story is the only variation, and as a result, the only interesting one among them.

And of course Winona Ryder's Finn has a similar problem. Does she marry Dermott Mulrooney or does she go off with the local stud muffin. I call him the local stud muffin because that's all he is. The actor who played him didn't convince me that there was anything under the perfect I-don't-have-to-work-out abs that would compel her to do more than roll in the field with him. He wasn't a character so much a plot device meant to set up an obvious choice. Handsome rogue or dependable architecht? Given the way the flashbacks ran, take a guess.

There are more scenes to pummel here. There's the thesis blowing away in the wind (she's the only grad student I've ever seen with no notes, no paperweight, and, since she was using a typewriter, no carbons), and there's her random meeting with the Stud Muffin (who just happened to be hanging out in the groves with a picnic basket and a blanket for her. I guess this was set before the advent of stalking laws), but it would take too long to mock them all. The real trouble with the movie is that it was so earnest, so desperate to convince the audience of its poetic depths, that it wound up shallow, unsatisfying, unconvincing and unintentionally funny.

Or, to put it another way--never have so many, who were so talented, worked on something so ordinary.

Bride-to-be Finn Dodd (Winona Ryder) hears tales of romance and sorrow from her elders as they construct a quilt.

Is this a chick flick or something more? I think it is primarily a chick flick, as it tells multiple romance stories from the point of view of the ladies. But it is not a romantic comedy, which makes it deeper than the average chick flick. And the cast... wow. Winona Ryder, Maya Angelou, Claire Danes and the debut of Jared Leto? That has to make it worth something.

And actually, it was the cast that really made this enjoyable for me. I cared very little about the plot, and definitely did not care about the romances. Finn could be with her boyfriend, a foreign guy or whoever. I don't care who she picks. But the casting was excellent.

A very moving, beautifully-crafted film. As I have not read the book, I am unable to compare the two. But the movie is enough: the acting is wonderful, although we get only snippets of each actress/actor. The message is wonderful, and the soundtrack is equally touching. I would recommend this to anyone in love, or making a decision about love. Inspiration is abundant in this film about a young woman about to get married and in the process of building a house with her fiance. As she takes the summer away from him to write a thesis and stay with her Grandmother and Great Aunt, she finds them in the middle of making a quilt for her wedding. She also finds a very attractive young man, tempting her to cheat. What follows are stories told by and about each of the women in the quilting circle. The young women discovers that love is not perfect, and that you must take advantage of what you have, and that there is beauty in the known.

I have watched parts of this movie more than once. The movie from start to finish only once. Each story unfolds like a facet on the quilt. Then as the main plot line draws to a conclusion, the thread that binds these stories together resolves each individual facet, to complete the whole.

Quilting as I understand it, is bringing many contributions together to create a final product. Each little design tells a story and the master quilter put's these stories together , to convey a theme or message.

I have not read the novel, but the movie conveys the message in it's title.

The soundtrack is tranquil and adds to the mood.

The interplay between Burstyn and Bancroft is a pleasure to watch. Winona is excellent.

There are only two reasons to watch this film: Winona Ryder's wonderful (as usual) performance, and Janusz Kaminski's spectacular cinematography.

Ryder breathes life into Finn Dodd, portraying her as a charming, intelligent, and highly sensitive young woman struggling to define what love and commitment mean to her. Ryder is one of those few actresses who is able to relay a world of meaning in just her facial expressions alone. She's mesmerizing to watch onscreen.

Added to Ryder's enchanting performance is Academy Award winning cinematographer Janusz Kaminski's beautiful, flowing images. There are many tiresome flashback sequences in this film, but they are all worth seeing just for the artistic value of the photography. Kaminski makes wonderful use of fluid camera movements and grainy filters to capture the essence of each time and place portrayed. It's no wonder Kaminski won an Academy Award for his work in Schindler's List and will most likely win another for Saving Private Ryan.

Other than these elements, this film has very little going for it. The screenplay is muddled and jumpy, and there are far too many characters with far too many inconsequential flashback sequences that say very little about the nature of either love or commitment. The story concerns nothing more than a bunch of old women sharing completely one-sided and sexist sob stories. Like The Joy Luck Club and Waiting to Exhale, this film portrays men as little more than duplicitous, moronic, emotionally immature children who are incapable of either expressing true love or loyalty. It is a completely shallow look at adult human relationships and has nothing new or profound to say about anything.

As a male supporter of feminism and feminist artistic expression, it saddens me that films like this are, first of all, even made, and then marketed as movies that modern women should see and even cherish. There are many far better films about women and their unique experiences, the most recent one being a small film called High Art, written and directed by Lisa Cholodenko and starring Ally Sheedy in one of 1998's best performances.