Musica da un'altra stanza

"Music From Another Room" is a romantic comedy with the sweetly sentimental flavor of a Hallmark or Disney production mixed with the occasional reality check to keep the goo from getting too thick. Sporting a fine cast, this dreamy film about a motley family and birth and death and love offers a fun scene to scene linear flow, keeps the sentimentality in check, builds its predictable love story, and manages several subplots all the while holding interest and easing a somewhat difficult buy-in resulting in a good all around romantic flick. Not for cynics, "Music From Another Room" will play best with sentimentalists. (B)

When I first began to watch this movie, I thought, OH BOY this is going to be BORING! The plot did not make a whole lot of sense and the characters seemed to be picked out of nowhere. There was nothing cohesive about this movie at ALL!! Then, Jesus appears (the character named Jesus that is) and the audience is drawn away from the main romance (which at this point seems to be beyond any hope) to a side romance that is truer to life than anything I had ever seen. The instant and simple bond between Nina and Jesus was almost electric. It was not sensual or erotic, it was sweet and endearing. It was how love SHOULD be. Its the kind of romance/friendship/love that everyone looks for. One that is selfless and kind. It is worth watching this movie JUST to see the Nina/Jesus romance.... This movie proves that side romances are indeed the best, because they restore our hope in what seems to be an impossible goal.

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.

"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.

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.