Picnic

I know it's become a cliché to pour scorn on movie re-makes and it's probably unfair to compare a TV movie with one made for the big screen, but this version of "Picnic" is so inconsolably bad that I feel it deserves no excuses. The original (1955 version) was magical in the way it moved all of a part, as though nobody was directing it. This re-make has a steely, contemporary feel to it; the acting is stiff and self-conscious and the cinematography heavy and uninspiring. Please watch William Holden as the charming bum-in-town and Kim Novak as the wistful country girl in the 1955 version (directed by Joshua Logan) and you'll see what I mean.

This version moved a little slow for my taste and I suppose I have problems with this play to begin with. But first the movie, it's a typical TV movie version of a play which means it doesn't have the flair of the original film version with William Holden. What they couldn't afford to hire more than twelve people as extras? Why move the movie up to 1966? So you could give the little sister a line about the Vietnam war protests? Why not 1963 and give her a line about the civil rights movement?

As for the casting, some hits some misses. Jay O. Sanders hit the right notes for his character especially with his scenes with Josh Brolin. Brolin on the other hand miss a lot of the notes. He's believable as an ex-BMOC jock but he doesn't have the raw sensuality of William Holden. I always thought Brolin looks a little bit like a gorilla to have all the women in town go ape over him (pardon the pun). Gretchen Moll was lovely but she seemed a little too wise for the character she played. She didn't project the innocence or ignorance that the character required. Maybe it's because she and Brolin were about 5 years older than the characters should be. But then again Holden was ten years too old. Bonnie Bedelia was rather forgettable as the mother and Mary Steenburgen can't seem to make up her mind whether she was playing Blanche duBois or Katharine from "The Taming of The Shrew".

As for Mr. Inge's play, I always felt that stories like this of a young woman choosing passion over practicality always needed an epilogue. "The Twilight Zone" I believe offer a likely epilogue with the episode, "Spur of the Moment" where a young Diana Hyland was being chased by a bitter older Diana Hyland, because the younger Diana Hyland chose to run off with a guy similar to Hal Carter.

The 1955 film is one of my favorites, so it colors my assessment of this newer version. If the classic film did not exist, this TV movie would be a bit more engaging and commendable. But though competently made on a far less opulent budget, it pales in most respects.

The acting performances in this remake are, for the most part, more true to life, but lack the emotional punch and/or charisma of Holden, Novak, Russell, and all the fine actors of the 1955 version. The TV movie is bland in comparison.

The script is serviceable but unmemorable; the 1955 script is full of memorable moments and dialog.

The TV movie's music is especially inferior, generic small ensemble music, with some obviously synthesized instuments. Compare that to the 1955 film's beautiful and effective big orchestra score, by George Dunning.

The last scene in both versions is instuctive. The 1955 version gives me a rush of elation, a feeling of joyous culmination. The TV movie, ehh.

And though I was very fond of Mary Steinburgen in "Melvin and Howard" and "Time After Time", here she is completely miscast as the old maid middle aged school teacher. She's too pretty and sexy for the role, and lacks the emotional impact Rosiland Russell gave to what should be a pitiful despirate character.

But where can I buy a copy? I would love to get it on dvd, but can't seem to find it anywhere. I can't even find a streaming copy to view. Can anyone help?

The Czech director Ivan Passer is perhaps the most unfulfilled of great contemporary filmmakers. His masterpieces in America--BORN TO WIN and CUTTER'S WAY--were seen by almost no one, and I doubt he had much of an audience for this "Kraft Premier Movie," which belies Robert Altman's notorious remark about Kraft's television products--"as bland as their cheese." William Inge's study of stifled erotic yearning in a small town now takes on a mythic stature. But powerful as that mythos is, Passer doesn't turn the star-crossed leads (Gretchen Mol and Josh Brolin, both luminous) into statues. On the contrary, he just accretes amazing lyricism everywhere--it stacks up on the surface of the movie like so many barnacles. The ending is a blissful liftoff that may make you feel you're living in another time and place. Visually, the work may not be as distinguished as you might like, but in terms of intuitive rhapsodic skill, Passer is right up there with Altman. Somebody, anybody, get this man more work.