Loucos do Alabama

I am in the process of trying to clean out an oversupply of VHS tapes and some of them are so easy to toss. Not this one. I had to sit down and watch it again and now I could only get rid of the VHS if I had it on DVD! I have not watched this movie in more than six years and it was "feel good" and "feel" all over again. David Morse is always wonderful. Lucas Black, Cathy Moriarty, Meat Loaf, Elizabeth Perkins, and many others are just a treat to watch. There's something about Melanie. I can't help liking her - even when I am finding fault with her. This movie really is strange with its incredibly serious (and gruesome) subject matter of a woman who methodically murders and decapitates her husband and then carries his head around with her - first in Tupperware and then in a very stylish hat box! The surprising part is that there is any plausibility at all, but it somehow existed for me. It had a strange feeling floating about it that was akin to "Forrest Gump" or "Nurse Betty", because it involved situations that were truly horrible, but everything kept working out for a sweet and naive character. The civil rights story was a very poignant counterpoint to the fantastic silliness of Lucille's odyssey. If I were a film student I may have sat there and criticized the way things came together, but I just watched it with an untrained eye, so it was fine. I certainly would have made the connection about a freedom theme even if they hadn't come out and stated it in the end. No one says a story has to be believable or plausible for it to work. This did work. I laughed a lot when I least expected to.

Watched this because it has Antonio Banderas's directing his wife Melanie Griffith.

There are 2 ongoing stories set in the 60s in Alabama. An abused wife (Melanie Griffith) kills her husband and sets off to Hollywood to make it as an actress carrying her husband's head in a hatbox. Her nephew (Lucas Black) witnesses the local sheriff murder a young black boy after a dispute about using the local swimming pool. It's part feel good fantasy and civil rights commentary.

Melanie still looks young and slim and gives her signature ditzy performance. The filming is quite beautifully and colorfully done. Worth a watch.

Crazy in Alabama is one of those films that slipped through the cracks right before the new century, but it does have some assured direction from Antonio Banderas and a great performance by this then wife, Melanie Griffith.

Griffith plays her usual semi-ditz with a heart of gold, but with a southern accent this time. She's just murdered her husband, left her entire litter of children with her mother, and, in turn, forced out her two nephews from living under that roof. The film follows her journey to L.A. to become a movie star as her husband's decapitated head (which she carries in a hat box) taunts her from beyond the grave and her nephews get mixed up in southern, small town police brutality and race relations in the 1960s.

Because Crazy in Alabama is about two very different storylines, it can sometimes feel a bit tonally bizarre. One minute, you're watching Griffith nab a role on Bewitched as her husband's decapitated head taunts her and the next, you're seeing a young black boy murdered in cold blood by a crooked cop. It's an uneasy mix of comedy and drama that don't always go well together, but there are enough interesting ideas, good performances, and directorial flair to keep it entertaining.

I had seen the trailers several times for this movie before running across it in the video store looking through the titles for something I had not seen. After seeing it, I wondered why I had not heard more of it. The trailers did not give away anything about this wonderfully written script. Antonio Banderas did a great job in direction, but Lucas Black stole the show with his acting. After thinking he was masterful in "Sling Blade," it was great seeing him get another role to show off his talents. Steiger was perfect for the role, although anyone could have played the Robert Wagner role. However, seeing such big stars playing cameos, should tell you that the script was a great read. I don't want to give you any insight into the story line, because it is so well interwoven that it has to be seen to understand. It gets nicely tied up in the end from a small statement from Lucas Black. Melody Griffith has not always been a favorite of mine, mostly because she does always pick roles that she fits, but in this one, I cannot imagine anyone else fitting the role. She did an excellent job. I say that, because there were parts where I forgot it was her, and got caught up in the actual character she was playing.

This is one that is definitely worth a look. The overtones of the era are played nicely and figure greatly in the story line. Why it was overlooked when the big awards came out, I have no idea. This one should have won something. It is that good.

One doesn't tend to expect much from an actor's directorial debut, especially from a relatively young actor and especially from one who seemed to have risen to fame at least partially by being, um, well, a studmuffin. One also typically expects a movie in which a husband directs his wife in a lead role to be fairly shallow or at least unbalanced. I crossed this movie off my list pretty early, expecting a forgettable Griffith-overload creation and little more.

Wrong! It's well-acted, engrossing, funny, and uplifting without feeling schmaltzy or (despite its farfetched plot) artificial. Every so often you want to rewind a bit, to hear some extra-cute bit of dialog again, or savor an especially well-done shot. (The camera work and sets, both indoor and outdoor, show unusual care, flash, and detail; this didn't dawn on me for most of the first hour but a rewind made it obvious.) Overall, 9 stars out of ten. But:

I wouldn't urge anyone to see this movie for Melanie Griffith. She does a fine job, but she's not what puts it over the top. As with quite a few recent films, I found that the performances of the extremely well-chosen supporting actors were a big part of what held the film together and made it so much more than it might have been. Most notable here is Rod Steiger as the judge, who captivates utterly; John Beasley as Nehemiah -- though his character could have stood a lot more development; and the perpetually underrated Meat Loaf as the slimy sheriff. Performances like Steiger's make you want to ransack the video store to rent all his older films.

Finally, I believe Lucas Black is destined for greatness. I couldn't watch him without remembering River Phoenix as Chris in "Stand By Me."

Why this film doesn't even rate a Maltin summary is beyond me.