Normal Life

I must admit that seeing 90210's Luke Perry in Normal Life's leading role did not inspire me, but after watching this film I was pleasantly surprised. The foreshadowing scene at the very start of the film gives a sense of foreboding doom that pervades the rest of the story. Pam (Ashley Judd) is a woman torn between living on the edge and having a normal, storybook life. Chris (Luke Perry) longs for such a life, but also seems to be excited by Pam's wild side. He goes from cop to bank robber in a first successful, but then futile attempt to make things right, which only seems to excite Pam more. Eventually their luck runs out, and the inevitable ensues. The last 15 minutes of this film are the best part with some surprising twists right near the end.

"Normal Life" was barely given a theatrical release by its studio, Fine Line. That's a shame, because there is a lot that is worthy in this movie. John McNaughton was a good choice to direct this movie, because in "Henry: Portrait Of A Serial Killer", he showed he had a talent for showing those in lower class positions with low self esteem - just like the two main characters in this movie. These characters have high ambitions and try to do better (at least initially), but they are shot down by themselves and their surrounding society. They want, but don't get, respect. The movie is focused on their insides, not much on what surrounds them like their jobs. They are drawn together because they are two lost souls - they at least have that to share. The two actors are excellent in their roles (Luke Perry sheds his pretty-boy image completely here.) The movie is not perfect - there are a few details that are not explained (like what exactly is used to justify Perry's character's firing from his job.) Also, the movie is a bit too long, more noticeably in the first half of the movie - cutting fifteen or so minutes from the movie would have helped. But despite these faults, the movie is still well worth seeking out.

Both films were based on characters and the budgets were many millions of dollars apart in spite of the fact, in B and C we NEVER get to know either of the characters and what today is so outdated, is made up by the incredible performance of Ashley Judd, who employs no clichés of a a wild drunk and does not reveal herself as a clearly bipolar,drugged out mess. Later, to his credit the script writer does not delve into her childhood past beyond one scene,thus throwing pity at her.This is way truer than fashion icon Bonnie whose famous line "we rob banks" thrilled people and made heroes out of them and Theodora Van Runkle.Most surprising is Luke Perry (with bad mustache created to make him not so baby faced)who is really good and we get a glimpse of how honorable a man is who falls for a gorgeous unpredictable girl/woman whose heroes and myths lie in astronomy and chaos and lack of fear.I have known two women like them and been in love with them who were equally beautiful and could be so appealing and sexy one minute and the next out of their minds. In their case it was a lot of speed when it was legal,and they fascinated a lot of guys whose lives they messed up before dumping them prior to me. I had to leave them because they had such power. One married 5 times to millionaires and institutionalized while the other is now the most normal mother who looks great and goes to PTA meetings.She was exactly like the Judd character while the other drove around Hollywood with shotguns her classic sports cars and a Bentleys drinking champagne.Exactly like Judd's character. This film is far more real and explains the unexplainable but it usually has to do with drugs and booze while in B and C it was fashionable to love the underdog during the depression and feel compassion for them. Ashley Judd, again is a genuinely intelligent and gorgeous actress with an educational b.g. which is astonishing and may have influenced the director/writer to involve her in the astronomy which was a masterful quirky touch.The dialogue rings true and again Perry and her amaze.

An incompatible couple try to find a normal life. Differences of opinion constantly lead to outbursts of anger and threats of ending the partnership. Pam (Ashley Judd) is an irresponsible woman who makes up for the lack of excitement in her life by indulging in drugs and alcohol. She is certainly not content to be a housewife. Policeman Chris (Luke Perry) on the other hand is a level-headed husband who pampers her in every material way. He is soon in dreadful debt.

The turbulent life-style of these two main characters occupy the screen most of the time and we feel there is no hope for either of them. Indeed their incompatibility is enough to put one totally off marriage. Their shouting matches are quite savage and somewhat depressing.

When Chris resigns from the police force and discovers a new way to riches and living life to the full, excitement takes over and the characters are fired with a new enthusiasm. Pam insists she be a part of this new game and for a time she becomes a new woman.

The characters are well drawn, the car chases quite exciting. This change of mood spices up their sex lives clearly depicted in a series of bedroom scenes.

The final sequences are dramatic and exciting so stay with the film to the end. The old saying that "Crime does not pay" is clearly delivered and understood.

More often than not, an early title card that reads "inspired by a true story" translates to a film maker's apology for what is going to be an embarrassing work. And electronic titles as well, the cheapest possible-cheap like they use for the late-night cable movies suggests this project was scrapped-pieces pasted together into something presentable, but hardly watchable.

And when you're right, you're right.

Good, lonely boy meets bad, bad girl, in a bad, bad, bad, movie

It seems inappropriate to criticize the actors, as I can't imagine there was even a script. Every scene seems to be a series of bad improvs, almost amateurish audition pieces. I was a John McNaughton fan based on his first feature: "Henry:Portrait of a Serial Killer", a low budget, but high-energy, inventive piece of film making. But this mess is only familiar to that film as regards overall production value.

By my count this makes 5 movies in a row where the high point of Ashley Judd's performance seems to be her undressing and /or use of dirty language. This list includes her role as the young Norma Jean Baker (Marilyn Monroe). Maybe a case of life imitates art?