The Promise

I first saw this movie on TV about 15 years ago. It has haunted me ever since, in part because of the story itself, and in part because the editors bungled their job and nearly destroyed what could have been a truly great film. What they gave us instead is a good film with a great story line. It is that story, along with the acting ability of Kathleen Quinlan and Steven Collins, that saves the film. If you have not read Danielle Steele's adaptation of the original screen play, do so. It will fill in some of the answers to the questions left open by the insensitivity of the film's editors.

This is a love story, and a good one, about two individuals whose love for each other is pure and true and ultimately stands the test of both time and tragedy. If that makes it syrup, then so be it. I like it. I wish I could get a DVD edition of this movie.

A movie does not have to be full of vulgar language and gratuitous sex to be good; it doesn't have to be filled with blood and guts and action sequences; and thank God this one has none of the above. Without resorting to the seamer side of life, this story will engage your emotions and embed itself in your mind and your soul, leaving an impression that can last a lifetime. This alone is enough to make it a movie worth two hours of your time.

If you have not seen this movie, try to find a copy of it. After viewing it, I think you will agree that this movie has been underrated by the IMDB rating system.

***Spoilers Rampant***

This stupefyingly bad romantic drama deserves a place in the annals of movies that are so bad they become good for all the wrong reasons. In the beginning, Collins and Quinlan go through all the 1970's gum-commercial moments to show us that they are "in love", culminating in their burial of a carnival necklace to signify their love and spouting some of the most ludicrous dialogue ever written. This is played with utter sincerity although Quinlan is decked out in all sorts of face-altering make-up so that she'll look different (and hopefully better) in the last 2/3rds of the film. Smeared with tan pancake make-up, wearing a wig that Marlo Thomas vetoed on "That Girl", donned with eye and nose prosthetics that give her a homely appearance and speaking in a whiny, annoying voice, she is anything but what one would imagine as a dream lover. But that's not all! They also outfitted her with false buck teeth which leave her unable to fully close her lips, so many of her words come out jangled and unintelligible. For example, when confronted by Collins with the prospect of marriage, she replies, "I don't need a feece of fafer..." So she can barely open her eyes and can't close her mouth when she and Collins and his best friend (a total buffoon who rinses toothpaste out of his mouth with BEER!!) are smashed up in a horrific car collision with a truck. From this point on, not one logical thing happens and the story takes on such an orchestra of contrivances that it becomes science fiction. Collins' gorgon of a mother (who viewers know is evil because she smokes cigarettes constantly through a plastic holder) pays to have Quinlan's face put back on, but only if she'll stay away from Collins. The mother (played by Straight) doesn't want a love affair with :::gasp::: an orphan to mess with her plans for Collins' career. So she tells Collins that Quinlan is dead. He apparently takes her word for it without ever once looking into it or even trying to see if there's a grave! A complete set of wild contrivances finally reunite the long lost couple.......and he doesn't even recognize her! You see, she is now the "normal" Quinlan replete with trendy new duds and full on glamour make-up, so he has no clue it's the chipmunk who was in the car crash with him. (And she is quite lovely. She is showcased in a wide variety of hairstyles and outfits.) It all keeps spiralling until they wind up back at the carnival necklace......at almost precisely the same time.....and have a "poignant" reunion. Astonishingly, this film, crazy and as bad as it is, still can manage to draw tears during that final scene from those who have gone along for the (insane!) ride! Collins gives a very heartfelt performance in it (however, Quinlan remains strangely stoic, which hurts the final clinch.) This movie is clearly inspired by such classic tear-jerkers as "Madame X" and "An Affair to Remember" and cribs from both of them. However, by 1979, that type of storytelling had lost all sense of reality....today even more so! It should have been a period piece. Amazingly, the director Cates had previously given audiences the stark and grim "I Never Sang For My Father" before offering up this hoot. Fans of soapy dramas who don't require much reality will love it. Fans of campy, unintentional humor will also eat it up. The only person who will likely hate it is any straight man. He will probably be off the couch and out the door before Melissa Manchester finishes howling the title song!

In 1979, I was 14, and I can remember that this was the big movie that all the kids at school wanted to see. I actually remember loving it then. Years later, all I can do at the age of 37 is cringe with embarrassment that I actually still like this thing.

How unrealistic can you get? With the exception of some make up and hair manipulation, there really is no difference between the Nancy and Marie faces. Most of the change is effected through Quinlin's acting ability (as well suddenly changing her wardrobe to the 70's disco chic that was popular at the time). It's not the only lapse in reality in the film, but it's by far the biggest. It takes a great deal of work on the part of Quinlan, Collins, and Straight to get you to come anywhere near believing the difference exists.

Laurence Luckinbill plays a truly predictable character as the Pygmalionesque doctor who creates the physical Marie. His character is more or less a plot device (as is Bibi Besch's), and his performance reflects it. On the other hand, Beatrice Straight (who was always one of the most underrated actresses in the business) gives a fantastic performance as Michael's mother. Her face says it all when she runs out of the hospital room and the impact of the lie that she has just told hits her.

Gibert Cates, who unfortunately has not been able to truly repeat his critical success in "I Never Sang for my Father", at least tries to do something with the script. It is hard, however, when the story is basically formula and schmaltz. In the end, it is Quinlan, Collins, and Straight who succeed in getting the film to rise above it. Their performances get you to continue to watch and find something good even though you really want to hate it.

If you are looking for an emotionally-moving movie about love and commitment, this is one you should consider seeing. Kathleen Quinlan and Stephen Collins are absolutely great in their roles. And the story, which is about commitment, deception, and misunderstanding, is excellent. When Stephen Collins says to Kathleen Quinlan, "I made a promise," you'll know why I consider this one of the great romantic movies of all time. It's right up there with "Sleepless in Seattle," "You've Got Mail," and "A Letter to Three Wives."

I remember watching the Promise when we first got cable and it was on a movie channel in about 1982 I was 22 at the time and had a year old daughter, I just loved the film and thought it was a great story. A few years back I bought the tape, I forget if I found it at a store or on the internet but anyway I watched it again and after so many years I still enjoyed it, my daughter who was so young when I first watched the movie is now a young woman herself and she watched the film and said she really liked it, so it might be a bit sappy and outdated but the story is still great and even relatable, the man's Mother anyway, I think it's a film that has stood the test of time and it will always be one of my favorites.