Colcha de Retalhos

Love, development and maturity all form the embroidery for this "more than a Hollywood drama piece" quilt, with stitching that matches the craftily, skilfully and fruitfully detailed needlework. From the needle of a great, star-laden ensemble, the patterns have been carefully but imaginatively sown into the wool - from a powerful exploration of human relationships to the torture of love, the journeys of women and the revelations of grief and new beginnings - there are many materials and colours used to form this quilt, and there is something that will appeal to everyone. Just like an American quilt, you too seem to become apart of the amazing, cathartic story lines, which weave together to make this cinematic masterpiece. It is evident that the embroiderer clearly knows how to make an American Quilt!

This adaptation by screenwriter Jane Anderson (novel by Whitney Otto) presents us with a character named Finn Dodd (Ryder), a 26-year old college student who has just gotten engaged to her long-time sweetheart Sam (Mulroney). She begins to realize the many changes that will come about because of her acceptance to his proposal and needs time to think and adjust. She decides to spend three months at her grandma Hy's house in Grasse, CA, which is the center of operations to a longtime quilting bee. During her tenure, she continues working on her master's thesis (a project of which she continuously changes her topic), all the while listening to the quilting bee's romantic horror stories as they craft Finn's wedding quilt.

To sum it up, `How To Make An American Quilt' is the quintessential chick flick awash with many familiar faces including Maya Angelou. The Pulitzer Prize-winning poet stars as Anna, the queen of an eight-member sewing circle consisting of Glady Jo Cleary (Anne Bancroft), Hy Cleary (Ellen Burstyn), her daughter Marianna (Alfre Woodard), Em Reed (Jean Simmons), Constance Saunders (Kate Nelligan) and Sophia Darling (Lois Smith). Anna winds up in the Cleary household at 16 - pregnant, unmarried and helpless. She will dwell there until the birth of her child, meeting Hy and Glady Jo for the first time. Little does she know that these two young women will remain in her life for years afterward, their interest and skill in the art of quilting mounting over the years by Anna's guidance.

There is also the story of Hy and Glady Jo themselves and their unspoken bitterness towards each other - we learn that Hy is the reason for Glady Jo's `self-expression' all over the walls of the laundry room. Then there is Sophia, an aspiring diver in her adolescence and later an abandoned mother of three; Em, wife to a histrionic artist, suffering his recurrent infidelity; Constance, a decent woman who endures the loss of her nearest and dearest, left with only her precious memories and Marianna, a lover of many but starved for the discovery of her soulmate.

We find as the film goes on that many instances of infidelity exist in the characters' cluttered histories. Half the women in this movie commit adultery at some point and even Finn falls victim to temptation. Where as once I could not relate, I find myself agreeing with many of Finn's thoughts and opinions on marriage upon becoming engaged - this includes a question in the very beginning that Ryder's voiceover poses to the audience: `How do you merge into this thing called 'a couple', and still keep a little room for yourself? How do we even know we're only supposed to be with one person for the rest of our lives?' These kinds of questions number in the hundreds of intended couples as they come closer to walking the proverbial aisle. I know that I have had my own reservations about marriage ever since I got engaged and many of my questions will never have an answer - I must trust my heart.and my gut.

Performances range in the areas of premium to mediocre. Who comes at the top of my list are screen veterans (and Academy Award winners, natch) Ellen Burstyn and Anne Bancroft. These two never cease to amaze me with how they can turn a character inside out and make it their own. Winona Ryder is so-so (as she is in most of her movies) as Finn but she does manage to touch a few nerves with her dark and luminous eyes - those pretty peepers are half of her dramatic capacity. Alfre Woodard is excellent, giving Marianna a carved edge but a soft core. Kate Nelligan is also wonderful but if you really wanna see her flex those acting chops, take a deep breath of Lila Wingo in `The Prince of Tides'. Dermot Mulroney always seems to play a nice guy that gets taken for granted (The Thing Called Love, My Best Friend's Wedding, Point Of No Return, etc.) and he does it again here - actis repeatus, you might say. Jean Simmons is a little disappointing as Em, the once beautiful and poised actress now only a shadow of herself. Maya Angelou does fine as Anna and some of Gen X's more popular faces make brief appearances in supporting roles (Claire Danes, Samantha Mathis, Jared Leto and Jonathan Schaech).

This film is a fairly even script-to-screen production and will please many that seek a decent character study. Of course, you can't outdo a detailed and poetic novel or the insightful author who writes it. As long as novelists continue to exist and evolve, filmic adaptations cannot compare (though there are a few exceptions here and there, e.g. Dolores Claiborne). This is not to say that `How To Make An American Quilt' isn't enjoyable - it's just not on par with what can be translated through literature. For those who have read Otto's novel, it will earn your rigid criticism.

I have spent many pleasant hours mocking "How To Make An American Quilt" to friends, but at this moment I want to play fair. I'm sure that there are many things to like about this movie and that somehow they escaped my notice. For me it was never more than a series of plot devices stitched together (ha ha) to form an unsatisfying story.

Winona Ryder is always a pleasure to watch. I've liked her better in more irreverent titles like "Beetlejuice" or "Heathers". Still, she wears earnestness well, and manages to make bearable the Poloniusesque quilt speech at end of the picture (see the quotes section).

The supporting players should be every bit as watchable (with several centuries of acting experience among them, they ought to be). I wish I'd been allowed to watch them act. Their function was to sit in front of the camera quilting and say a few words of introduction before the flashback--as if they were hosts of a documentary.

I want to pause for a moment over Maya Angelou's casting. It's always a tricky thing introducing a famous person from another discipline as an actor. I call it the "Hey, you're Kareem Abdul-Jabbar" problem (based on the scene from _Airplane_ where a kid recognizes the basketball player in the co-pilot's seat. The joke is in how much time he spends denying it). Maya Angelou has screen presence, but does nothing to dispel the problem. My dominant experience watching her was, "Wow, they got Maya Angelou, world famous poet!" Maybe this was the idea. Maybe the filmmakers felt her famous presence would, in itself, add depth to the proceedings, so why muddy it with anything as messy as an interesting character? Her appearance was less acting than promotion. Maya Angelou wouldn't appear in a dog, would she?

Well...

The plot reminds me of a line Robin Williams had about alcoholics, "You realize you're and alcoholic when you repeat yourself. You realize you're an alcoholic when you repeat yourself. You realize, oh dammit." Each woman's story follows a similar pattern. Girl meets boy, sleeps with boy, marries boy, boy leaves, boy comes back--each time unconvincingly (I wonder how far any guy has ever gotten with the opening line "You swim like a mermaid"). The Alfre Woodard story is the only variation, and as a result, the only interesting one among them.

And of course Winona Ryder's Finn has a similar problem. Does she marry Dermott Mulrooney or does she go off with the local stud muffin. I call him the local stud muffin because that's all he is. The actor who played him didn't convince me that there was anything under the perfect I-don't-have-to-work-out abs that would compel her to do more than roll in the field with him. He wasn't a character so much a plot device meant to set up an obvious choice. Handsome rogue or dependable architecht? Given the way the flashbacks ran, take a guess.

There are more scenes to pummel here. There's the thesis blowing away in the wind (she's the only grad student I've ever seen with no notes, no paperweight, and, since she was using a typewriter, no carbons), and there's her random meeting with the Stud Muffin (who just happened to be hanging out in the groves with a picnic basket and a blanket for her. I guess this was set before the advent of stalking laws), but it would take too long to mock them all. The real trouble with the movie is that it was so earnest, so desperate to convince the audience of its poetic depths, that it wound up shallow, unsatisfying, unconvincing and unintentionally funny.

Or, to put it another way--never have so many, who were so talented, worked on something so ordinary.

This movie tells about men and women, and ties that bind them (us, I mean).

I haven't read the novel, and I'm the kind of person who believes that the movie is not to be compared with any novel who based it, because they're using different media. So the way I see it, it's a good movie. We can easily understand it's messages and sympathy with the characters.

Winona, by the way, appears to be a sweet girl who's having trouble following her 'advisors' ideas and wisdom. On the screen, she appears to be having quite difficulty matching these women's acts. We see her the way she is in 'Edward Scissorhand', or 'Reality Bites', or her other movies. Maybe because she's so sweet and pretty, and I was carried away with her big eyes. So I see her in this movie very usual and not special.

The movie itself is beautiful and sweet. The casts are nice. We ended up wondering about our relationships and ourselves.

A must see. Watch it with your close friends, spouse, or parents.

There are only two reasons to watch this film: Winona Ryder's wonderful (as usual) performance, and Janusz Kaminski's spectacular cinematography.

Ryder breathes life into Finn Dodd, portraying her as a charming, intelligent, and highly sensitive young woman struggling to define what love and commitment mean to her. Ryder is one of those few actresses who is able to relay a world of meaning in just her facial expressions alone. She's mesmerizing to watch onscreen.

Added to Ryder's enchanting performance is Academy Award winning cinematographer Janusz Kaminski's beautiful, flowing images. There are many tiresome flashback sequences in this film, but they are all worth seeing just for the artistic value of the photography. Kaminski makes wonderful use of fluid camera movements and grainy filters to capture the essence of each time and place portrayed. It's no wonder Kaminski won an Academy Award for his work in Schindler's List and will most likely win another for Saving Private Ryan.

Other than these elements, this film has very little going for it. The screenplay is muddled and jumpy, and there are far too many characters with far too many inconsequential flashback sequences that say very little about the nature of either love or commitment. The story concerns nothing more than a bunch of old women sharing completely one-sided and sexist sob stories. Like The Joy Luck Club and Waiting to Exhale, this film portrays men as little more than duplicitous, moronic, emotionally immature children who are incapable of either expressing true love or loyalty. It is a completely shallow look at adult human relationships and has nothing new or profound to say about anything.

As a male supporter of feminism and feminist artistic expression, it saddens me that films like this are, first of all, even made, and then marketed as movies that modern women should see and even cherish. There are many far better films about women and their unique experiences, the most recent one being a small film called High Art, written and directed by Lisa Cholodenko and starring Ally Sheedy in one of 1998's best performances.