Beautiful Girls

It is very rare to encounter a film so devoted to character and this is the greatest strength of Beautiful Girls. Each character has their own personal turmoil and lightness which shines through in a film which from start to finish very little movement of plot is actually achieved, but then again it doesn't need to.

Small-town sensibilities and community spirit are intertwined with the notions of enigmatic strangers posing in an almost prophetic manner delivering advice upon the populous. Events such as brutal fighting, unashamed drunkenness and references to sex are handled as items which are not derogatory but necessary in a rites of passage kind of way. Each character develops through the film into better individuals of what they once were but not to such an extent as to impose sickly sweet values on the audience.

Every character is natural and rounded despite some major personality flaws. Timothy Hutton's excellent Willy is at odds with himself over the next stage of growing up, Rappaport plays the goofy yet loveable fool for love, Dillon the lost soul and Emmerich the doting yet somewhat incapable father. But it is in the Beautiful Women themselves where the real essence of the film lies. Uma Thurman is every blonde inch the mysterious and elegant Andera crossing paths with everyone and influencing their lives for the better. Rosie O'Donnell as the brash 'matron' of the group is the perfect foil for Sorvino's insecure personality. The ace of the bunch however is a mesmerising Natalie Portman who even despite being the cast's youngest member is compelling to the point that you can understand Willy's fascination with her character Marty.

For anyone wishing for comfort on a cold winter afternoon there are very few films with such a strong heart, Demme excels himself by never laying on the sentimentality rather poking gingerly at our own innermost feelings, and coming out with a winner.

Easily one of the most overlooked movies considering how good it is. There are several ensemble movies out there, but this movie is definitely one of the best ones.

The key word in ensemble cast is obviously "cast". And this movie has a stellar cast. Timothy Hutton, as Willy, is perfectly cast. Yes, this is an ensemble movie, but it sort of hovers around his character and he carries the movie so well. And to play off him, Natalie Portman is tremendous in this movie. Despite being the youngest cast member, she outacts most of the adults in this movie. Her chemistry with Timothy Hutton is amazing.

The other cast members, including Rosie O'Donnell, Michael Rappaport, Uma Thurman, and Matt Dillon are also really good in their respective roles. Rosie O'Donnell delivers a hilarious monologue about the differences between men and women and it should not be missed.

The story is relatively simple... a man going back home to attend his 10 year reunion. But because of the complex characters and their various storys, it becomes much more than just a high school reunion. Its a story about a man finding himself. Its a story about a young girl getting a taste of what love might be, despite it being in an unlikely person. Its a story of a man who has to grow up and let go of the long gone high school glory years. Its a story about relationships, between friends, family and couples. All these tales are interwoven into a heartwarming story.

This movie ranks as one of my all time favorite movies.

Beautiful Girls, notwithstanding its stellar cast, is a cerebral and multi-layered film which represents the emasculation of emotional and experiential films, which are often (and rightfully) vilified, or what might be called "chick flicks". To this end, Beautiful Girls is a veritable "guy flick" and addresses to a more emotional end, some of the same 20-something angst and existentialist related issues faced by men as seen in more obvious (and violent) examples such as Fight Club. This film is a richly textured character story, profiling one man's quest for self understanding and direction by returning to his banal hometown from the big city while at a crossroad in his personal life, and while entering a new epoch in his relationship with an equally banal woman. His amalgam of high school friends remain isolated, almost indentured, to the same working class routine which defined their adolescence, and have little hope of ever moving on, other than in their idle daydreams. His subsequent obsession with the barely pubescent girl next door, Marty,(Portman) is in fact somewhat reminiscent of the dialectic of beauty and decay explored in Thomas Mann's epic "Death in Venice" whereas her youth and perceived way of interpreting the world is enviable, almost infectious. She represents less of a sexual or romantic fixture in his mind than she does a crucible for all things he values and hopes for. And still hopes to be. This film is not for everybody, and some less patient, or intelligent, viewers will no doubt decry it as boring or slow. Indeed the storyline is far from cutting edge, but the real story in this film is the people, the place, and the raw emotion which we can all relate with. This film is an impressionist painting come to life and is perfect philosophical fodder for the introspective type.

My friends accuse me (rather accurately) for being a sap - for liking this 90's chic flick. But they are wrong about this movie. This movie is entertaining and sometimes fluffy, but more importantly it is real and timely. Amongst all the hype of the X-Gen, this movie boiled down our mood (all us kids who are still growing up) in a small town setting where the people were real (except for Rosie, she should have ended up on the editing room floor). The slight plot is less important than the setting and the circumstances. Winter in small town Massachusetts, on the frozen lakes, and the plowed roads and small taverns - on the edge of early mid-life adulthood for yet another lost generation...the movie leaves you with a cold warm snow feeling of hope and sorrow for people in transition, that usually only a classic novel (like those by F. Scott or Hemingway)can give you.

A terrific ensemble cast brings this film to life, which focuses on the difficulties some face in making that final, `mental' leap from adolescence to adulthood, and spend way too many years trying to sort it all out. As one of the characters so tellingly puts it at one point, `I'm not anywhere close to being the man I thought I'd be--' and the denial, that failure to accept the fact that time stands still for no man, and the inability to choose which path to take when you hit that inevitable fork in the road, forms the basis for director Ted Demme's examination of how human nature affects the process of maturating, in `Beautiful Girls,' a drama featuring Timothy Hutton, Matt Dillon and a young Natalie Portman.

Willie Conway (Hutton) is back home in the Midwest for his high school reunion, but more than that, to try and make some decisions about his future. He finds that nothing much has changed-- the town, or his old friends, most of whom seem to be exerting more time and energy attempting to cling to what was, rather than moving on with their lives. Tommy Rowland (Dillon), for instance, the high school `hero,' as it were, now drives a snowplow; for all intents and purposes, his life `peaked' in high school, and he can't seem to get past it. Then there's Paul (Michael Rapaport), who just doesn't seem to want to grow up; after a seven year relationship with Jan (Martha Plimpton), he refuses to make that final commitment-- after all, `What's the rush?'

All of which does nothing to help Willie with his own dilemma; the only words of wisdom he gets from anyone, in fact, come from the precocious thirteen-year-old, Marty (Natalie Portman), who lives next door. But in a couple of days, Tracy (Annabeth Gish), the girl Willie `thinks' he wants to marry, is due to arrive from Chicago, so it's time to move beyond the crossroads; for Willie, it's decision time.

Demme delivers a story that just about everyone in the audience is going to connect with on some level, because everyone's gone through (or will go through) these kinds of things at one time or another. Who hasn't experienced, if only for a moment, that sense of either wanting to stay as they are or going back to what they were, when life was better, or at least simpler. Or more fun. Working from a screenplay by Scott Rosenberg, Demme examines the relationships between this eclectic group of individuals in a way that offers some insights into human nature that will no doubt elicit some reflection on the part of the viewer. It all points up that, no matter what it may look like on the surface, underneath it all we're not so different from one another; we all share that common bond of learning life's lessons one day at a time, albeit in our own particular way, which corresponds to who we are as individuals. And Demme succeeds in telling his story with warmth and humor; by tapping into the humanity at the heart of it all.

The story may focus on Willie, but the film is a true ensemble piece, realized as it is through the sum of it's many and varied parts. It's a talented cast of actors bringing a unique bunch of characters to life that makes this film what it is, beginning with Hutton, who anchors it with his solid portrayal of Willie, a challenging role in that Willie has to be an average guy who is unique in his own right. The same can be said of Dillon's Tommy, in whom traces of Dallas Winston from `The Outsiders' can be found; Tommy is, perhaps, just Dallas a few years later.

Mira Sorvino gives a memorable performance by creating the most sympathetic character in the film, Tommy's girlfriend, Sharon. This is the girl who was never going to be prom queen, and who up until now has lacked the self-confidence necessary to create a positive environment for herself. Lauren Holly, meanwhile, succeeds with her portrayal of Darian Smalls, the absolute opposite of Sharon, a young woman who is probably too positive for her own good and who lives the life of a perpetual prom queen, an individual who-- as another character succinctly puts it-- was `Mean as a snake,' back in the day. Good performances that add a balanced perspective to the film.

There are two performances here that really steal the show, however. The first being that of Michael Rapaport, who as Paul so completely and convincingly captures the very essence of an average Joe with not too much on the ball, no prospects for the future to speak of, but who is, at heart, a good guy. There's humor and pathos in his portrayal, which personifies that particular state of being the film is seeking to depict. Excellent work by Rapaport, and decidedly one of the strengths of the film.

The most memorable performance of all, however, is turned in by Natalie Portman, who at fifteen is playing the thirteen-year-old Marty, the girl mature and wise beyond her years (`I'm an old soul,' as she puts it), with whom Willie forms a kind of bond as she, in her own way, helps him to sort out his feelings and find his focus. Portman's performance here-- some three years before she would forever become Padme Amidala-- exhibits that spark and charismatic screen presence that has served her so well since, in films like `Anywhere But Here,' and `Where the Heart Is.' She has for some time been, and continues to be, one of the finest and most promising young actors in the business.

The cast also includes Noah Emmerich (Mo), Rosie O'Donnell (Gina), Max Perlich (Kev), Uma Thurman (Andrea), Anne Bobby (Sarah) and Pruitt Taylor Vince (Stanley), all of whom help to make `Beautiful Girls' a memorable and satisfying cinematic experience. And that's the magic of the movies. 8/10.