The Sisters

I had the privilege of meeting the Director, Arthur Allan Siedelman at the screening of this film. This is probably the first "dialogue-heavy" movie that I really liked. This film is based on Chekov's "The Three Sisters" which is a great story to begin with.

The acting is in one word stunning. Script is like I said very rich in dialogue. Allan Siedelman's direction is very enticing and inviting. I'll root for Maria Bello for an Oscar nomination for her brilliant performance. Scoring is beautiful but subtle.

When released, this movie should draw rave reviews and can only be more successful as more people get to watch it.

I went to the video store last weekend not really knowing which horrible studio film I wanted to fall asleep to - the weekend prior I watched Hillary Swank's awful film THE REAPING... good premise, poorly executed. And why an Oscar winner starred, I have no idea?? Which brought me to THE SISTERS, and also probably answers my last question - Swank never could of wrapped her head around the dialogue with the same wit and sarcasm Maria Bello is able to execute. Why Bello hasn't won an Oscar, I have no idea -- she most definitely should of won a few awards for her star turn in THE SISTERS -- if not an Oscar, at least an Independent Spirit. This film gives it's viewers something magical to hold onto - rich dialogue that speaks to the soul and the mind (words with more than 1 or 2 syllables, oh my!!); actors who act with passion for a project and a screenplay they must of really believed in - because you know they didn't get paid for this film and you can't pull the wool over this many stars eyes!! Director Arthur Allan Seidelman has been around for a while and brings his A-game to adapting Chekov's masterpiece. The writer is a wizard of vocabulary who obviously understood the essence of what old Anton was trying to teach us all. Kudos to the writer, director, actors and crew - your efforts to bring quality American cinema to the screen is much appreciated!

'The Sisters' is a lovely little family drama that I nearly missed. Obviously, I was glad I didn't.

At first, the movie just looks like two hours of people fighting with each other, and it is. But (highly due to Ms. Bello's performance)there is so much more than that: a human aspect and real characters (for the most part). However one-note the people may be, the writer adds little things here and there to make them diverse and relatable.

Maria Bello, as always, is amazing. She plays the angry sister, the one who is always prepared for an argument. Her performance is the best thing about the film. Bello expertly shows the changes her character experiences over the course of the movie. In the beginning, she is just shown as a snotty, sarcastic, rude woman. Over time, she lets us see the hidden vulnerability of a normally dull character, and by the end of the movie, Bello not only plays her part but becomes it, creating a human out of a very underwritten role.

Erika Christensen was a surprise. While she is not Evan Rachel Wood or Scarlett Johansson, she still has plenty talent for someone so young. With only one above average performance to her name (Traffic), I expected much less of her but she blew me away with her performance as the shy little sister. She is quite promising and again, I hope to see more of her.

The rest of the cast is just as good. Elizabeth Banks plays her role perfectly. She makes a seemingly one-dimensional person show more emotion than expected. Mary Stuart Masterson is also good, but I found her performance the most lacking.

Now for the flaws: the screenplay. Truthfully, they are all supposed to be college professors or students, but the vocabulary used is the most advanced I've seen in a film. This may sound like a stupid flaw, but it was the thing I noticed the most while watching this movie as it is as unrealistic as possible. It proves effective in a multitude of arguments, but it doesn't reveal anything about the characters aside from the fact that they are inhumanly smart. The other flaw is that the brother barely has any historical background shown, while his sisters reveal many of their memories; however, he is never in them. If the filmmakers had explored the characters, their relationships, and their motivation more, some of their actions wouldn't seem so absurd or out of place.

A very charming movie about anger, forgiveness, and family. ***/****.

THE SISTERS is adapted by Richard Alfieri from his play 'The Sisters' which in turn was adapted from Anton Chekov's 'The Three Sisters': the theatrical aspects of the play remain intact in this film version - and that is most definitely a plus! All of the action takes place on an obvious set (an enormously beautiful Faculty Lounge for a university where nearly everyone in the play is employed, and in a hospital waiting room) and the lines are richly imbued with dialogue that mirrors Chekov's form despite the fact that Chekov's play has been updated to the present time with all the changes (and similarities!) of modern day family life.

The story is well known: a family of three sisters and a baby brother are both united and bonded by the past and show the scars of maturing on their journeys from a childhood to adulthood with a father that was both a hero to some and an incestuous attacker to another. One by one each of the sisters and the brother peel away the trappings that hide each other's realities and make public the pain endured in their dysfunctional family. Maria Bello as Marcia carries the bulk of the story as the abused, spiteful, vitriolic, unhappy head of the family unit: she is astonishingly fine. Mary Stuart Masterson is Olga, the closeted lesbian chancellor who has never had the luxury of sharing her private feelings with her sisters for fear of the consequences of her sexuality. Erika Christensen is the youngest sister Irene whose painful life as being treated as a child leads to her life of drug abuse. Allesandro Nivola is Andrew, the baby brother left in charge of the family estate in the South and has married a trashy, mouthy floozy Nancy (Elizabeth Banks) who is the sole challenge to the family's unity. The stalwart Greek chorus is the old professor Dr. Chebrin (Rip Torn) who watches as the various characters tangential to this crumbling family vie for inclusion: Gary Sokol (Eric McCormack) whose asides keep the theatrical flavor moving; David Turzin (Chris O'Donnell) who loves and wants to possess Irene and is in bitter competition with Gary for her affections; psychologist husband of Marcia Dr. Harry Glass (Steven Culp); and the visitor from the past Vincent Antonelli (Tony Goldwyn) who changes Marcia's existence transiently. Each actor is superb, playing the marvelous dialogue for all its worth and giving us fully realized characterizations. Arthur Allan Seidelman is the fine director and the elegant musical score is by Thomas Morse.

There is action in this story and movement inside and outside the ways films should be shot when making a play into a movie. But for those who love the theater seeing this film little film will create a desire to have this exact company of actors set up shop in a nearby legitimate theater to allow for the grand impact of a fine play sifted through a fine adaptation to be absorbed repeatedly. Highly recommended. Grady Harp

When I think about it, there have been quite a few cinematic variations on Anton Chekhov's classic "The Three Sisters" from Woody Allen's austere "Interiors" to Diane Keaton's execrable "Hanging Up". Playwright-turned-screenwriter Richard Alfieri provides a more literal adaptation by updating the original play to the present and resetting it primarily in a Manhattan faculty lounge on the Upper West Side. Longtime TV director Arthur Allan Seidelman guides an impressive ensemble of actors in the proceedings, but the result unfortunately feels like a stagy TV-movie brimming with overripe theatrics. The abundance of characters and multi-layered set-up seem to make the actors chew the scenery excessively, though a few still make indelible impressions.

The structure and themes of the Chekhov play remain the same. The plot focuses on the four Prior siblings - Marcia, Olga, Irene and Andrew - and their clashing destinies and unraveling secrets furnish the drama as they get together for Irene's 22nd birthday party. Maria is the beautiful, vitriolic older sister unhappily married to a passive psychology professor while embarking on a torrid affair with Vincent, their father's former teaching assistant who has come unexpectedly for a visit. Irene is the buttoned-up middle sister, an English literature professor and by default the family conciliator. Irene is the protected baby sister whose sunny disposition masks deeper insecurities that lead to a crystal-meth overdose. Andrew is the weak, emasculated brother who has brought home Nancy, his slatternly fiancée, whom his sisters, especially Marcia, despise. There are others who encircle the family like a vise with their own histrionics - kindly department head Dr. Chebrin and dueling professors Gary Sokol and David Turzin, both in love with Irene and seething with rage against each other.

There are plenty of fireworks, but with so many characters to track, Seidelman produces a truncated flow to the story while making the movie itself feel overlong. The performances are all over the map, though each seems to have at least one bravura set piece. As she proves in David Cronenberg's "A History of Violence", Maria Bello is one of the strongest actresses on screen today and makes Marcia a memorably fiery character, especially as she lays into the vulgar Nancy or succumbs to Vincent's ardent attention. As Irene, the underused Mary Stuart Masterson brings a coiled sense of repression that makes the contrast between her and Marcia biting and poignant. Less interesting is Erika Christensen, who makes Irene sweetly vulnerable but cannot transcend the trite arc of her character. Chris O'Donnell barely registers as the romantically obsessive David, but Eric McCormack - who will have a challenge overcoming his pervasive Will Truman persona - is all sarcastic blather as Gary until he manages to convey the character's pathetic jealousy.

Elizabeth Banks - memorable as the lusty bookstore clerk in "The 40-Year Old Virgin" - makes the vulgarity of Nancy palpable if rather obvious with a wavering Bronx accent, while Alessandro Nivola - equally memorable as the pampered rock star in "Laurel Canyon" - is effectively passive as Andrew. Tony Goldwyn seems oddly stilted as Vincent, making him a dispassionate match for Marcia's voracious self-destruction. At times, the dialogue is insightful with clever zingers. At other times, it sounds laughably mannered, and the general dysfunctional situation gets wearing over time. A few cathartic moments shine through, especially toward the end when Marcia and Olga come to terms with each other. The DVD is short on extras - just the original trailer and an overly earnest commentary from Seidelman and Alfieri.