Truly Madly Deeply

Having spent some time in the States, I got to watch the brilliant review programme starring Siskel and Ebert (rest in peace, Gene). I've now got a rather dated copy of Ebert's book, and his review of this film matches my opinions perfectly.

Comparisons of this film and Ghost are fatuous, since the similarities are only superficial. Yes, the main protagonists are a couple where the man dies and returns as a ghost, but that's about it. Truly, madly, deeply is wonderfully involving - it has that indefinable something that makes you care about the characters, and pray that the film makers won't cop out and go for a stupid ending.

Fear not, they remain true to the rest of the film. If you only know Alan Rickman from his 'baddie' roles in films like Die Hard and Robin Hood: Prince of Thieves, this will come as a complete surprise. He plays the recently departed Jamie, who must hang around as a ghost until Nina (Juliet Stevenson) finds happiness. The film is slow-paced, but that doesn't matter - it's a wonderful character study.

Of course, it's helped by having Nina played by the utterly wonderful Juliet Stevenson. In the early scenes, when she's grieving for Jamie, her pain is almost palpable. Forget Demi Moore-style teary-eyed, looking ever more beautiful grieving - this is the real thing, floods of tears, almost incoherent, looking like crap, snot-nosed AGONY. The transformation when she realises that Jamie is still around is a joy to watch - as is most of the film, actually.

'Ghost' for adults? In a way, but I think it's comparing apples and oranges. It's a masterful character study, with a great script and a cast on top of their form. Well worth watching.

This is a beautiful little movie. Juliet Stevenson (as Nina) plays one of the most authentic female leads I've ever seen: She bawls full-out, complete with fluids; she looks like a man in bad lighting; she's passive aggressive and irritable and loveable and likeable and real. Likewise, Alan Rickman's character, Jamie, is peevish, like all of us, self-centered, like all of us, but beautiful and unique and again, real. Unlike the schmaltz we're fed here in the states, where dialogue consists of rehearsed speeches (think Jerry Maguire) and love seems skin-deep, this is a couple that seems not only to love each other but to genuinely like each other; a couple that has their own language, as long-term couples do (and it's not translated, which is so refreshing), a couple that can be silly with each other and irritated with each other within minutes; that can have spats that are not high drama or the beginning of the end or anything other than the end of a long day in a too-hot apartment. The ending broke my heart yet seemed like the most natural and right course of action. Truly stunning.

I had no idea it was going to be as good as it was. The two leads, Stephenson and Rickman, produce such a quality together that it flowed very nicely and I did not want it to end there.

Overall, spirit movies have their own presence and I hate to say this, unbelievability. However, this movie was different in that Rickman's "Jamie" was so believable. It's probably because it was Rickman, who is by far a great spirit, in my opinion. It was very poignant in bring about the message to leave the past as past, and live for the present. Grief brings out a reflection of past and how sometimes we could have made things different. This was more of an embrace on living life to it's fullest, while you still have it. Minghella is an artist!

Truly, the ghosts were fantastic!! It added more to Jamie's plea for Nina to experience life again without him - he had his life, and she needed hers in her world.

This is NOT a chick flick. True, it is rife with sentiment but is not sentimental. It pushes the envelope in several ways but the thing that really gets me is how much better these English actors and writers are than we are. I shudder to imagine what pablum (e.g., Ghost) would have come out of Hollywood. The humor and imagination that has gone into this film is amazing and then, there's the Bach. I mean, listening to Bach on the cello is worth the price of admission in itself. The little bits and pieces of how a shattered life is put together is touching but never maudlin. The ghosts who are always cold (well, I mean they're dead, aren't they?) and who are hooked on videos of classic movies (OK. Is it High Noon or Fitzcarraldo?) is great. If you can watch the closing scenes without chocking up and getting at least a little teary, you are made of pretty stern stuff. I love this film and highly recommend you see. I plan to watch it again and again...

A nice look at what it means to lose someone, and to be the lost as well. All too often (as in the treacly "Ghost") we are treated to a fantasy version of love and loss, where you get to have your cake (looking fab in that graveside outfit) and eat it too (dead person is wonderfully available as he guides you to your next, even better for you, love). Here, we see a woman who cannot let go, who is so paralyzed with grief she cannot live the life left to her. The man she lost untimely loves her so dearly he returns, not to take up where they left off (which is all she asks), but to guide her back into life, life he can never have again. What makes this movie admirable is the deft and sensitive rendering of the act of letting go, from both the point of view of the lost and the living.