franabanana

Charming leads, interesting location shoots, and a boppy soundtrack make for a pretty mini-series, but one lacking in much backbone or substance.

The production hinges on the two leads: Edie, the poor but lovable social-worker-record-store-worker, and Michael, the bad-boy-banker-with-a-heart-of-gold. Yes, they are types and stock characters. They meet by chance when Edie visits London and needs to borrow some money from a bloke in a pub. He gets her number, and the hijinks ensue.

They begin a tentative transatlantic romance, with complications of former lovers, jobs, friends and family, as well as their own cautious natures, standing in the way of True Love.

So should you spend 7 hours watching this series? I was utterly charmed, but recognize some drawbacks: wooden dialogue (and acting), silly situations worthy of a bedroom farce (mistaken identities and the like), and a lack of realism (how does poor Edie manage to buy those tickets to London? Guess she has good credit!)

I chalk up my enjoyment of the series to the leads, especially to Stephen Moyer, who brings an edge and a sly wit to Michael. Despite tragically misguided sideburns, he is a strong presence, and manages to overcome the limitations of the dialogue and trite situations.

Rashida Jones fares less well. She is certainly beautiful (Peggy Lipton + the "Q" = gorgeous), but is more shaky in her command of the character and dialogue. I haven't seen Ms. Jones in other roles, so no harm, no foul. I'm not sure how many actors could pull this character off. All I can say is I enjoyed watching her struggle, and she did OK with a tough assignment.

The last characters worth mentioning are the cities of London and New York. Nicely done exterior shots provide more realism than the story itself. Add in great soundtrack, and I was happily diverted.

What to say about this movie? First the good: the live performance scenes are fun. The helicopter landing over the huge festival crowd, the "Indian benefit," the montage of Babs on the Road, all pack more energy and excitement than the heavy-handed dialogue and love story. And Babs has some pipes - no denying that - although her style of music is not my favorite.

Kris Kristofferson does as much as could be done with a thankless role. Why anyone would be attracted to this already-at-the-bottom drugged out loser is beyond me, much less someone who seems as "together" in a 70s-kind-of-way as Esther Hoffman. He seems to take the only possible acting choice, which is low-key to the extreme. Kristofferson's best scenes when he tries to "make up" with the obnoxious D.J., and when he goes back to find his old band mates moving on, shows the heartbreak and anger of someone who simply can't control his own life.

Opposite Babs, whose acting style is turned up to "11" in almost every moment, she and Kristofferson seem to be in different planes of existence. Babs has a few charming moments, but her self-regard throughout seems to limit her ability to play anything other than Strong Woman. The basis for the characters' love and respect for each other is not well established from the start, and never is on firm ground.

As for the music, I'm not crazy about the songs they gave KK to sing--I'm used to him more as a country singer, and the country "rock" style just doesn't work for me; however, the producers choose rock, I guess, to justify the huge fame and success the character has had. As for Babs, she has some great numbers. She has an amazing voice, Evergreen and several others are lovely songs, and if you're a fan of hers you will enjoy. The final song (as others have mentioned) take a long time and meanders about a bit much for me.

A final note on the hairstyles and clothing. What a time capsule into mid-70s style! The high- waisted bell-bottom jeans; the long sweaters; the central cleavage exposure with the burn- you-bra-look; not to mention the spiral perm! Go Babs!