Tudo Pela Vida

May-Alice Culhane was a successful soap opera star, but a car accident has left her bound to a wheelchair. She returns to her now-empty family home in the bayous of Louisiana which she had eagerly left years before. She drinks heavily and vents her bitterness on the succession of nurses who are hired to take care of her and immediately quit because she is so unbearable.

I write "more than a chick flick" because that's what you might assume from a film about two women bonding. But that just is not a fair summary, because this is really about character. The plot is thin, but the characters are deep. Even the secondary characters, like Sugar and "Bad News", are interesting. Oh, and the anal probe joke is priceless.

If there was one big negative, though, it tends to run a bit long at well over two hours. If you don't mind a slow burn, you probably won't mind, because it's an interesting two hours. But for those who like their movies to be 90 minutes and not a second more, this will try your patience.

The kudos here go to David Strathairn (a wonderful, overlooked performer in "Matewan," "L.A. Confidential" and numerous other films). He comes the closest I've seen on film to an actual Cajun, from the accent down to details such as the white shrimp boots. When will this actor get the Oscar he deserves (as Jim Broadbent finally did this year)?

It's regularly noted that director John Sayles is a master at creating detailed characters; this film (like especially his earlier MATEWAN) proves his genius at capturing the oft-overlooked variety of American life: dialects, and the smallest (but most meaningful) moments of work, anger, tragedy, or sweetness. This skill was surely refined during his earlier years as a novelist, and - in maturity - makes his work (and this film in particular) far more human and gimmick-free than Amer-indie contemporaries like David Lynch or Jim Jarmusch.

I first saw this when it was released, and was very impressed (it was the first Sayles film I'd seen), and after a much-belated second viewing, I'd say it's one of the great American films of the 90s. Sayles' feel for detail shows continually - the small, but continual bits of personal history revealed about all of the characters throughout; the intricacy of even incidental encounters (an afternoon of zydeco music, or the COOLEY HIGH reference that slips quickly between Angela Bassett and Alfre Woodard) is stunning.

Evoking Robert Flaherty's LOUISIANA STORY, the boat-trip-to-Misere scene is particularly memorable, with well-deployed Cajun lore blending with very memorable cinematography (courtesy Roger Deakins, cinematographer for FARGO, KUNDUN, SHAWSHANK REDEMPTION & SID AND NANCY, among other recent classics) to create one of the most unforgettable moments of Sayles' career.

As most of the primary characters are either outsiders, or are returning after long absences, the common problem of show-biz fake accents is avoided nicely - Sayles (and Deakins) manage to capture an image of rural Louisiana that is enveloping and authentic, while never forgetting the reality that accents will vary widely even in local areas. Thus the fact that many characters refuse to lay on the drawl - even as many others in the film nail the sound of rural Louisiana perfectly - only makes PASSION FISH stronger.

Overall this is a tale of growth and friendship that moves with the speed and emotions of life - none of it feels fake or forced, and though slow-to-start (another strength, though only seen as one by the film's end), PASSION FISH quietly develops into something unique and great. At every moment where this could've degenerated into movie-of-the-week sap, Sayles instead elegantly and confidently steers the film into DeSica (or Woody Guthrie and Steinbeck) territory: there's not a sour note to be seen here.

In this current era of moviemaking, it's rare than an idea as soft, as pure as Passion Fish, will be given an opportunity to be made. Thankfully John Sayles has the ability to circumvent the ‘by-committee' filmmaking which would have ultimately turned this wonderful little film into God know's what.

Mary McDonnell will never be better-she is brilliant, than in her portrayal of May-Alice Culhane (for which she was Oscar-nominated), the once-on-top Soap Opera star to whom tragedy has taken the use of her legs, and forced a re-evaluation of her life.

Alfre Woodard, as the hired home-care worker/nurse Chantelle provides the perfect complement as both these women find more of themselves through each other, then they might ever have found otherwise. Again, Ms. Woodard has rarely disappointed.

The early montage of health-care applicants is clever and funny. And John Sayles always is able to find brilliance in his supporting cast: notably Vondie Curtis-Hall, Leo Burmester, and David Strathairn, as well as a small role early in the career of Angela Bassett.

Sayles' script was also nominated for an Academy Award.

Writer/Director John Sayles' 1992 outing tells the tale of a soap opera star (Mary McDonell), who's been in a car accident, and is now wheelchair bound, and her unlikely friendship with her live-in nurse (Alfre Woodard). Excellent supporting roles from the great David Strathairn (A Sayles fave, star of Limbo), Vondie Curtis-Hall (who went on to direct Gridlock'd), and Angela Bassett. I gotta say this. Sayles always writes believable characters, and his dialogue is amongst the best in filmdom. I knew my wife would like this, which was my main motivation for renting it. I'd seen it before, but had forgotten just how good it is. McDonell garnered a well-deserved Oscar nomination for her role in this largely overlooked gem. 4 (of 5) stars on this one.