The Kiss

An eager young editor joins the staff of a major publishing house and discovers an old, dusty manuscript with the potential of becoming a best-selling romantic novel. But the manuscript is missing the final pages, and the editor sets off in quest of finding the mysterious author and the story's conclusion.

There was unlimited potential for developing both a suspenseful and passionate story about the lost pages and the missing author. And while "The Kiss" was competently directed by Gorman Bechard, the good premise was not fulfilled, due to the nearly total absence of passion among the main characters.

While Françoise Surel was believable as the mousy editor, she was ineffective in the all-important romantic action. Surel appears in both the main story as the editor and in flashback scenes that recreate the fictional story of the mysterious and reclusive author Philip Naudet (Terence Stamp) and his relationship with his beloved Claire.

At some point in the film, the sparks needed to fly and the chemistry needed to be forged. But throughout the film, there was nothing truly "at stake" for the characters.

The shortcomings of "The Kiss" may be seen when this film is compared to a similar romantic film entitled "The Notebook." In both films, there are two parallel plots set in the present and the past. But in "The Notebook," there was genuine passion; the stakes were high for all of the characters; and the film included a riveting performance by the leading performer (Rachel McAdams) which linked the two stories.

With "The Notebook," I empathized with the characters and their life-changing decisions, and I felt compelled to view the film a second time. With "The Kiss," the most profound detail was in the writer Naudet's suggestion to Cara to read Gustave Flaubert's famous novel "The Sentimental Education." In order to make a film with more psychological depth and emotional life, the producers of "The Kiss" needed to follow that same advice

I rewatched this film on DVD and am stunned as to WHAT HAPPENED?

I was lucky enough to have seen the director's cut of this film in an editing room during August of 2002. Not that it was ever a great film, but it was certainly watchable, with some fun moments. Eliza Dushku, especially, was charming and funny. Really...she stole the film.

But now the fun is gone, lost to these insipid Billy Zane scenes (which had barely existed) and these voice-overs from the book that make me want to gag. Everything is so melodramatic.

I know the star is the producer's wife, but even she was so much better in the original cut. This cut really does make it seem like a vanity project, a reel for Surel.

Why hire the director of The Pretty Girl for such a task?

Having heard the film was recut from scratch, and seeing the final results, I can only wonder: WHY? Did the producers want to make it unwatchable? If that was their goal, they succeeded.

And if they wanted to give us the sappiest collection of mis-matched tunes ever, ditto.

I so remember the Getup Kids song "Mass Pike" playing during the road trip (when Dushku and Surel are driving in the red Mustang)...how cool was that? So cool that the producer pulled it and every lick of the director's music.

And the opening...this brilliant montage of Paris with a Django-type tune in the background...also gone.

What's left...a lot of Zane and Surel...overacting.

There should be a law here like in France where the director controls the film! The Kiss could be exhibit #1.

I liked this movie. I really did. I rented it on a whim, because of the presence of Eliza Dushku, Terrence Stamp and yes, I admit it, even Billy Zane. This is what the producers wanted me to do-- these are the actors featured most prominently on the DVD cover art. I was suckered, which is unfortunate, but I'm not mad I watched it.

The writing, direction, production value, and make-up are nothing I can complain about--- . This is a cute idea for a story and the music is pleasant and the costuming is really great, subtly but instantly telling you someone is an ex-professor, or party animal, or all business. The actors mentioned above really came to play, making the most of dialogue that varied from mediocre to cheesy, though the cheesy can be passed off as being quoted from a manuscript that is the center of the films plot.

My lone complaint, though this is a major one, is the actress playing the lead, Cara. She's awful. Atrocious. Community Theater bad. She has one facial expression-- this goofy, awkward smile-- which goes away when she says her lines, then returns instantly. Every actor around her exudes charisma and demands your attention just by being there, but Francoise Surel (the DVD credits say she's a former make-up artist) is a blank slate, her several costume changes are more interesting than she is.

All I can think is, the director cast his girlfriend, which was unfortunate because the rest of the movie works so well around her. Ultimately it doesn't matter, because even with a skilled, experienced or interesting actress in the lead, the film still wouldn't be worthy of a theatrical release, but it was still sweet and charming nonetheless. Perhaps a subplot would have helped-- though it doesn't feel like it, the film only runs 80 minutes.

I can see the producers sitting in their office... "Wow, Terrence Stamp said yes? We're LUCKY to get Terrence Stamp. Eliza Dushku said yes? Wow, she's really popular, we're LUCKY to get Eliza Dushku. Ileana Douglas said yes? Wow, she's an indie-QUEEN, we're LUCKY to get Ileana Douglas. Now, we need to cast the romantic lead, to really bring in an audience... hmm.... do you think Francoise Surel is available?"

Yeah, she's totally some dudes girlfriend. She might be nice in real life, but on film she's just a 6-foot skinny-as-a-rail liability (with D-cups, which seems unlikely). Still, this charming, slightly predictable movie overcomes her... by a hair. It's sweet, romantic and better than whatever is on Lifetime this week.... worth a look.

I'll see anything Eliza Dushku is in, but I was really looking forward to this after getting my hands on a copy of the script. Suffice it to say I wasn't impressed. Apparently neither were the writers - before the film began, Stephen Manzi stood up and asked the audience not to laugh in the wrong places, as well as other comments of a similar nature that escape my swiss-cheese memory.

I can't quite put my finger on what was wrong with The Kiss. It's a wonderful story with an incredibly talented cast, but something got lost along the way. The script moved me to sappy romantic tears and the movie completely failed to move me.

Reading the disclaimer from the director of this film, Gorman Bechard, makes a lot of sense, as it explains a lot of questions one asked about it while watching it. "The Kiss" must have shown a lot of potential in order for this project to have gone ahead, but it appears there was a lot of cutting, making the film incomprehensible, at times.

The best thing in the film are Terence Stamp and Eliza Dushku, who make the best out of their characters. In flashbacks we see Billy Zane and Francoise Surel as the protagonists of the novel without an ending, and in real life. Alas, these two actors don't live up to what Mr. Bechard probably had in mind.

Since the director was not consulted in the cuts, one can't hold him accountable for what comes out in the screen, yet, one sees the possibilities of what could have been in small doses.