See You in the Morning

Filmmaker Alan J. Pakula was the true definition of an actor's director: he paid so much attention to the nuances and details of a performance that he often lagged behind in his pacing. With "See You in the Morning", which Pakula directed and wrote, not only is the narrative flow made of lead, the characters simply don't emerge (despite an apparently hand-picked collection of actors). Divorced psychologist and father Jeff Bridges meets a new lady (with children of her own), but blending the families proves to be difficult. With so many television-movies (not to mention TV-sitcoms) mining this territory, it's amazing that Pakula thought he could unearth fresh sentiment out of such a stale situation. He gets the milieu down right, and his picture looks good, but very little of the drama rings true. Linda Lavin stands out in top supporting cast, though Farrah Fawcett (as Bridges' flaky first wife) is lost in the muddle. *1/2 from ****

This film skips around in its early minutes, providing a disjointed story. But it is pleasant watching after it settles into a unified narrative.

The film revolves around the life of Larry Livingstone (Jeff Bridges), a psychiatrist whose life unravels, requiring him to create a new life. This requires patching together a new relationship with remnants of a failed relationship. In the main, this is a film about the complexities of blended families. And about the stresses that surround life's milestones.

The cast is strong. I especially enjoyed Linda Lavin's performance. There is an abundance of talented young actors, like Lukas Haas a few years after "Witness." And Drew Barrymore midway between "Firestarter" and "Poison Ivy." And Macaulay Culkin shortly before "Home Alone."

Larry's path is a bumpy one. This is definitely drama, not comedy, though there are some odd story choices that are almost comedic. Some fine background music contributes to the romantic bent of the film. Recommended for those who enjoy stories about the complications of life.

I enjoyed watching this. First of all, it is very good in showing family problems, so much to the saddening effect. But the actors do a solid job, and through the film there are numerous moments that lighten up the general mood and I think the atmosphere is quite balanced. The ending comes off well.

I especially like the soundtrack. The music fits perfectly, also when it comes to details. For example, there is a scene with Mozart's Little Night Music (Eine Kleine Nachtmusik). This music, composed back in the 18th century, supports the acting in an impressive way. Too bad that the soundtrack loses its quality towards the end. Another con is the structure of the plot, there are some flashbacks that seem to be forced to add more tension. It does, but it is a tick too artificial.

Maybe the average rating of this film is correct, maybe I don't see the reasons for which many rated the movie so poorly. But I liked it a lot and I think you will too. Give it a try, don't hesitate!

This has to be one of the most boring films I have ever watched. It just did not capture my attention at all. For a start, it was billed as a comedy- which it was not- there was only one semi amusing scene near the end. But worst of all, nothing particularly interesting ever happens. The characters are not fully developed enough for you to care about them at any great length, although the actors were good in their roles, particularly Lukas Haas. Most of the storyline was very superficial, you could see that they were trying to play on a variety of human emotions- but they failed in most if not all cases. It played a lot like a pilot for a drama series that never made it into a full season of episodes. A total waste of time really, unless your analyse this for a social study class.

This was the first film i've ever seen that addresses what a man goes through emotionally when dealing with all the ramifications of divorce, separation from his own children and blending families when he enters into a relationship with a woman with children of her own. It deals with what it must be like to assume the role of caretaker in another man's house, with another man's children while someone else is in his former home with his children. Women and children aren't the only ones who have complex feelings when families play musical homes.