Music from Another Room

I found myself hating and loving this movie throughout the entire running time. Other than Gretchen Mol, there are some good performances, but the screenplay fails time and again to latch onto a real emotion or life-situation. I really like Jude Law but I think he was supposed to have turned this part down when it was offered.

However, the movie was made for me by Vincent Laresca, who played Jesus. He was so unbelievably nice and loving to Jennifer Tilly's character that I cried at his performance. Thank you, Vincent, and congratulations on your career.

"Music From Another Room" is certainly recommended viewing, for what it is and despite what it fails to be. "Writer" Charlie Peters constructed as good a screenplay as you will ever find in the "straight" romantic genre. Unfortunately there is a failure in the execution as "director" Charlie Peters drops the ball in his casting decisions and in his efforts to extract the necessary performances from the two leads, Jude Law (Danny) and Gretchen Mol (Anna). And solid efforts from the supporting cast are not enough to make up for these key deficiencies.

Peters' story was inspired by Tolstoy's "Anna Karenina". It is Danny's fate, shortly after arriving in town, to stumble across Grace Swan (Brenda Blethyn) and her family who he has not seen since he was five. "Happy families are all alike; every unhappy family is unhappy in its own way". At age five he had assisted his physician father in delivering daughter Anna (like the book the family's three daughters are named Anna, Karen, and Nina). Seconds after Anna's birth, 5 year-old Danny had vowed that they would one day be married. But there is no indication in the screenplay that the grown-up Danny has come to town for this purpose, on the contrary he came to be with another woman who he has fallen in love with but who dumps him and moves away shortly after his arrival.

Peters should get credit for a great title, as "Music From Another Room" is a metaphor Danny uses to illustrate how he has felt in the past when he was in love. The idea being that love is like listening to a favorite song playing in the distance and coming back on the same beat of the song when it has been periodically drowned out by closer noises.

He should also get credit for the originality of the two-headed coin flip sequence; which sets up the film's resolution according to the flip of a regular coin. The irony being the characters' ability to flip this device of randomness/destiny into an exercise of their free will.

Although not a comedy, the film is has a lot of charm and some funny moments. Even with its flaws it is better than average but this does leave you regretting that Peters did not recognize his limitations as a director and bring in someone who could have better executed the ambitious vision of his screenplay.

The problem is that the quirky and original elements, which make the screenplay so good, require exceptional performances from the lead characters who must non-verbally convey a whole lot of character motivation as well as several moments of profound revelation. For "actors" up to this challenge (and for a skilled director), the roles offer a wonderful "acting for the camera" opportunity. For Law, Mol, and Peters it is way too much to ask and the result is strained and unconvincing. Which means that the mixes of sadness and joy, fate and free will, ignorance and revelation never achieve the dimensionality they should have. The failure to fill in the blanks with behavioral information combined with elements that were deleted in the editing process introduces an element of incoherence that ultimate undermines an excellent story.

Law (who has certainly demonstrated acting ability in most of his films)has stated that he regrets doing "Music From Another Room" and that he let himself be talked into the part. This may actually be true as he certainly gives very little of himself to the performance. The interesting thing is that the part actually has more potential than roles he has chosen and into which he has thrown a lot of energy.

Brenda Blethyn and Jane Adams turn in great performances and one can only wish that Adams and Mol had traded parts.

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

When I check my voting history, I see I have voted for movies rather generously. But I never actually gagged to give a movie a 9 and felt inhibited not to go beyond 7. I wish this movie let me love it a little bit more.

The story is very simple and popular. Actually, in my country, at least a dozen movies are made every decade on a plot like this one. So, it's not the catchy story or an end twist that people love these kinda movies for. So, when you already know what is gonna happen and how, complete attention falls on things like cinematography and compelling conversations.

This movie has wonderful moments. Well, with Jude Law, that is no surprise. I wanted to see this movie for Gretchen Mol. She is spontaneous, but not brilliant. The thing is, for this movie, she did not have to be. But when a sensitive viewer is watching the film, certain things should be left unsaid for his mind to synthesize and derive. If everything is discussed on a round table (not literally), it becomes more educational and less charming. That is what is pulling this movie down. Movies like French Kiss or Addicted to Love never surprised any viewer with a climax. But those films took their breaths away no doubt. I wish this one was a little more subtle and metaphoric. That way, I would not have to settle for a 7.

Though there is no surprise in the end, the end is very beautiful. Feels like it's filmed by some different director than the one who filmed the educational speeches. But anyway, this is a lovely film to see. You might find it very good, or just good, depending on how forgiving you are in real life. There is no way you are gonna regret spending your good money on it. I recommend it. Who am I to recommend? You don't wanna know.

Just like the other comment above, I had never heard of this film before but saw it (twice!) on the in-flight entertainment of a long flight back from down under. The overall feeling of the film is a bit like a condensed John Irving novel (Hotel New Hampshire): a sprawling storyline concerning an eccentric family with delightful sub-plots involving the births, deaths and loves of the various members. But because the film works on a much smaller scale than a huge doorstop novel, the characters are developed very economically in the film. However, thanks to an absolutely inspired bit of casting, with the likes of Jeniffer Tilly and Brenda Blethyn as the dying mother, the film works extremely well. And of course the chemistry between the two leads, Jude Law and Gretchen Mol, is undeniable and provides much of the appeal of the film. An absolute must see love story which skips beautifully over the potential cliches of the genre, and will have you laughing and crying in equal measures.

OK, if you're in the mood for a slightly nutty romantic comedy, go for this one.

The subplot, with Jennifer Tilly's performance as a shy, sheltered blind girl, reluctantly coming out of her shell, is totally luminous (sorry 'bout the cliche, but no other word fits), without resorting to the corniness of "A Patch of Blue." To me, it was actually a more affecting story than the main plotline.

The other actors do a great job, especially Brenda Blethyn (what do they teach in British acting class?), Martha Plimpton, and Jayne Adams. The story moves along nicely, and one event seems to flow naturally into another.

My guess is, if there had been an A-List Hollywood star on board, like, eg, Bruce Willis, this little film might have gotten quite a bit more recognition. But the chemistry would have been completely different.

Bring a date and some popcorn, and enjoy.