The Grass Harp

...based on a short story by Truman Capote, and is mainly set in 1940. The film meanders at times, and the sad ending (right from the story, probably) is a bit of a letdown, but its still worth seeing for an excellent cast and graceful staging.

As the story begins in a prologue set in 1935, a young boy (Edward Furlong) is sent to live with his two spinster aunts following the death of his parents. These aunts might be sisters, but they are decidedly different; one is a hard-nosed businesswoman who owns many of the shops in town (Sissy Spacek), the other (Piper Laurie) is gentle and childlike, keeps house, and makes a homeopathic dropsy cure. After a few years pass, the two sisters have a falling out over taking the homeopathic cure into a factory setting, Laurie, Furlong, and maid Nell Carter decamp to the woods while waiting for Spacek to change her mind.

That is the main thrust of the plot, but there are all sorts of familiar faces in here as well: Walter Matthau as a retired judge and suitor for Laurie, Mary Steenburgen as a tent revivalist with 15 children, and brief cameos from the likes of Jack Lemmon, Roddy McDowell, Charles Durning, Scott Wilson, and Doris Roberts. This film is very little known, but it's worth tracking down for Laurie's performance especially.

Directed by Walter Mathau's son Walter, this is a superb adaptation of on one of Truman Capote's best stories about how Southern misfits in the 1930's help each other survive. Both Piper Laurie and Sissy Spacek, as the wealthy Talbo sisters, are perfectly cast and neither has ever been better. Walther Mathau, under his son's direction, in his most sympathetic roles, plays a retired judge. Every member of the spectacular cast is completely understandable: Jack Lemon and Mary Steenburgen are a pair of hilarious but unrelated con-artists. Nell Carter is the Talbo sister's very feisty cook, Joe Don Baker is the bumbling sheriff, Charles During the preacher, and Roddy McDowall is the gossipy barber. Look for Doris Roberts (Ray Romano's 'mom') as Mrs. Richards and for the director himself, Charles Mathau, as a barbershop regular.

This is a technically perfect adaptation of Capote's stunning story based upon partially on his own experiences. Laurie is all things Dolly should be: ethereal, giddy, of understated intelligence, committed, etc. Spacek had to stretch to play the cold-hearted sister, but that's what great actors do. It is leisurely paced, but that's totally in keeping with the story. Music, sets, and all are done with precision and with plenty of soul. Matthau and Lemmon have no scenes together, and for a change, Matthau plays the ethically superior character. Edward Furlong is perfect as the story's protagonist, and Mary Steenburgen steals each scene in which she appears.

I recommend this movie highly to all who enjoy character development and Southern-US Americana.

"The Grass Harp" (1995) will remind a lot of viewers of "To Kill a Mockingbird". Not a huge surprise given that both stories involve Truman Capote's childhood (Harper Lee based the Dill Harris character on Capote). Both films also use small Alabama towns for their locations.

Capote loosely based his 1951 "The Grass Harp" novella on the eccentric maiden cousins of his childhood. For the film Piper Laurie plays good Aunt Dolly and Sissy Spacek bad Aunt Verena (who is even less likable than Pollyanna's Aunt Polly). Spacek gets to do something out of character and nicely underplays this one. Laurie gets to have even more fun and turns in a joyful performance. She is a little too good to be true but Laurie manages to sell the character with a remarkable performance. In the 1950's Laurie was an extremely pretty (and hot) young starlet but it is obvious from this and her performance in "Carrie" (playing Spacek's mother) that there was a lot of substance in that pretty package.

Edward Furlong (best know as John Conner in "Terminator 2") avoids the "Pollyanna" trap and is pretty easy to take. The coming-of-age side of the story works quite well.

"The Grass Harp" is a bit underrated, probably because the screenplay fails to capture the lyrical quality of Capote's storytelling, giving the viewer a surfeit of sentimentality compounded by a too sweet score. The title is a reference to the musical sound of blowing grass, a metaphor about intergenerational connections and the primary theme of the story.

The film would have benefited from a little more restraint. This is not a fatal flaw but the film would have been more powerful with Mockingbird's toned down production design and less colorful characters; maybe even going so far as to release it in black and white.

Those looking for action adventure and hot romance should look elsewhere. But there are a lot of "Mockingbird" fans out there who should really enjoy "The Grass Harp".

Then again, what do I know? I'm only a child.

The sort of adaptation preserving the entire flavor of novel. As an imersion in the atmosphere and colors and sensitivity of splendid novel of Truman Capote. The basic pillar - the performances. And the love for recreate a lost world in each detail. Great and delicate. Precise and wise calculated adaptation, hommage to a way to discover life and to the true magic.