Hysterical Blindness

Hysterical Blindness starts where 1980's Gloria ended. Gena Rowlands is one of the most under-rated actresses in Hollywood. She is nothing less than terrific in this movie. Surprisingly, Uma Thurman is just as good. Most of her career has been dubbed as eye candy and a beautiful body with nothing else to offer. In the past few years, Uma has broke away from her earlier career to become a decent actor. Here, Uma gives her best performance. At time, Rowlands and Thurman make you want to switch the channel because their performances are too good. Moments of embarrassment and sadness over whelm you to believe that both characters are doomed to find happiness and to have fun with their lives. A somewhat happy ending, the movie identifies with the lives that these characters have. They are almost doomed from the very start of the film, but manages to find shreds of happiness to keep living. Somewhat of a Cassavetes depiction on human emotion, the movie falls under the category of yet another great film produced by HBO.

For anyone who has ever been truly, painfully lonely and done really stupid things under the influence of alcohol just to gain a little affection and affirmation, this movie will be like looking in the mirror. I winced when Uma's character literally flung herself at a guy who is, like a recent book popular dating book says, is just not that into her. The pain on Uma's character's face is just too much to take sometimes. I've watched this film twice and even though the I knew what was going to happen, seeing it a second time was just as heart-wrenching and touching. Kudos to all the actors, especially Uma Thurman and Gena Rowlands. PLEASE see every Gena Rowlands movie ever made - you won't be disappointed. She is one of the finest actors of our time.

I enjoyed this movie because it was REAL. Hollywood too often sugarcoat characters and their experiences, almost to the point that it makes you want to puke because you know real life never turns out that peachy. This ending wasn't exactly a happy one, all the problems weren't solved and you're left to imagine what went on afterwards. Nobody fell madly in love and got married like some fairy tale... that was refreshing. Splendid job by the actors, I love Juliette Lewis, and she was her usual charming self.

My only complaint, is why was Deb so.... frustrating? I found myself asking, 'Why is she being so difficult? Why doesn't she open her eyes and see what's going on? Does she really think Rick would want anything to do with a girl he picked up from a bar and had a one night stand with?' And so forth. SHE'S the one putting HERSELF in these ridiculous and tragic situations. Halfway through the movie I just got so tired of her endless cynicism. Miss Thurman was terrific, don't get me wrong, but the character irritated me somewhat, maybe that was just me.

Other than that, I think this is one of the best HBO films so far. They really have a knack for bringing real life to the screen, I'm hardly ever disappointed. Quite a few women can probably relate to one of the characters or at least seen themselves, at one time, in their predicaments. I mean, we all want to find true love... but make sure you're looking in the right place! 7/10.

Seeing Uma Thurman play a genuine, sensitive woman is a strange thing for me. Everyone (including myself) knows she's a terrific actress — but as a Tarantino die-hard obsessed with "Kill Bill" (I've legitimately seen "Vol. 1" at least thirty times), I'm hardly used to her portraying a woman capable of carrying on a soul-baring conversation without cutting someone in half with a Hattori Hanzō sword. Perhaps I should see what else she's capable of before I start making assumptions — so I suppose "Hysterical Blindness", an HBO TV-movie for which she won a Golden Globe, is a good place to start.

Thurman is Debby Miller, a thirty-ish, '80s bound, New Jersey bred, lonely heart in the process of sinking into the suppressed life of an old maid. She's desperate for love — she and her best friend, single mom Beth (Juliette Lewis), parade around seedy bars looking for potential suitors like a second job — but as her low self-confidence is more up front than her immense good looks, she turns most men off, finding herself in a plight of one-night-stands instead of meaningful relationships. She's torn between continuing her search for Mr. Right and completely giving up; she still lives with her mother (Gena Rowlands), and still holds onto a low-paying job she most likely got in her early twenties. Eventually, Debby finds a possible mate in Rick (Justin Chambers), a seemingly nice guy she met during one of her late-night escapades.

The hysterical blindness of the title derives from a condition that causes its victim to temporary become visually impaired after a long period of unresolved stress. Debby, so mind-numbingly obsessed with her lack of a love life, experiences the bizarre phenomenon, twice in the film (once in the beginning, to develop her as a neurotic leading lady, and once toward the conclusion, as a dramatic high point that begs her to consider what the hell she's doing with her life).

Directed by Mira Nair, "Hysterical Blindness" is a drama frustrating in its inability to stay earnest throughout its length. Most of the film is moving, well-acted, but Nair, against good judgment, feels the need to include "Girls Just Want to Have Fun" repeatedly in the soundtrack as if to make the impression that we're watching a sappy woman's world drama more spurious than sincere, to render Debby and Beth as stereotypically New Jersey as possible to make their desperation even more desperate. Thurman and Lewis are so broadly drawn that it's a relief that they stir our emotions during their more dramatic scenes — there, the acting school vulgarity disappears and we finally feel like we understand these women.

It's irritating that "Hysterical Blindness" is so regularly prodded by fakery, because, at its realest, most truthful, it momentarily turns into a movie rich in its passion. It's at its best when focusing on the relationship between Virginia (Rowlands) and her new boyfriend, Nick (Ben Gazzara). Both in their sixties, both numbed and used to their discontent, the love they find together is unexpected and exciting; Rowlands and Gazzara, in a mini Cassavetes reunion, are deeply touching. The side-plot makes for a good contrast between that of Debby and Beth — they would do anything to have a meaningful romance, and while they wander around various taverns, Virginia, who has been a waitress the majority of her adult life, simple finds someone by being herself. The scenes between Rowlands and Thurman are palpably wistful, their mother-daughter bond so thick that it's less of a familial pairing and more of a friends-forever partnership that guarantees the other that when the going gets rough, sticking together will hardly be an action in question.

"Hysterical Blindness" is mostly a mixed bag, a sometimes poignant, sometimes obviously calculated comedy-drama that hits home at its best moments but feels like leftovers from an actor's previous vie for an Oscar nomination that didn't quite make it at its worst. But the cast does well with the uneven material, especially Rowlands, making "Hysterical Blindness" decent enough to make even the most cynical of viewers take a look at the world around them and wonder just how many people live to love, throwing their happiness away when they can't quite find it.

I rate this highly 'cos of the performances of Thurman and Lewis. They were absolutely outstanding. I take on board the comments about the dodgy accents, music, anachronistic details, but they don't matter to 99% of the people who watch. The characterisations were great! Even if they didn't leave you precisely where intended, they were consistent and you could buy into them.

I really like the comment here to the effect that the film would have some merit if the characters achieved even a hint of self-awareness by the end of the film. This is an important point, and I would agree whole-heartedly if the film had a different title. The title is all that's needed to give this film perspective, to place it specifically and allow it to be what it is without reference to the frame that gives it meaning.