Sweet Dreams

For those of you that thought "Sweet Dreams" was a stupid movie, well that's fine, but not in my opinion. "Sweet Dreams" tells a story, one of the greatest stories imaginable, I mean yeah it's not no fairy tale, but the life of The Legendary Patsy Cline is a very warm-hearted story to tell. I just saw the movie on VH1 about 3 months ago, I was messing with some things around the house and could not watch a lot of it. But, then about a mounth later it came on CMT and I finally watch it in it's entirity. I loved it so much I ordered it on DVD. It's just very neat how are these stars like Roy Rogers, Loretta Lynn, Dolly Parton, Barbra Mandrell, and Patsy Cline can pave the way to stardom easy for new country stars like Martina Mcbride, Jo Dee Messina, and Kenny Chesney, and to make a movie like "Sweet Dreams" that tells a story about one of these people is very Sweet and I give an applause to Hollywood for making it. I also give "Sweet Dreams" two thumbs up, I mean I'm not no Roger Ebert, but, I know a good movie when I see one, and this one is to good not to miss. Jessica Lange gives a awesome performance of Patsy Cline, not to mention Ed Harris as her dim-witted husband Charlie Dick. With all the crap that Patsy has to put up with, like her car crash, or that she's pregnant, she stll makes it to stardom with her hit song "Crazy". Also, speaking of songs Jessica Lange did an awesome jod of lip-syncing them. Out of "Great Balls of Fire", "La Bamba", and, "Coal Miner's Daughter", "Sweet Dreams"- (Jessica Lange & Ed Harris)The Legendary Story OF Patsy Cline is, The Best one Yet.

As a cinematic biography of country/western singer Patsy Cline, "Sweet Dreams" is fairly good. The story takes place mostly in the 50s and 60s during which time she had already begun singing in local honky-tonks. The film's plot is straightforward and easy to follow. Production design is excellent. Overall acting quality is credible, with good performances from Jessica Lange as Patsy Cline; reliable Ed Harris as Patsy's redneck husband, Charlie Dick; and wonderful Ann Wedgeworth as Patsy's mother. Profuse country/western music helps make the film even more enjoyable, though I wish they could have found a spot in the film for "Faded Love", one of Cline's most popular songs.

Patsy was talented, ambitious, frustrated, determined, and outgoing. Charlie Dick comes across in the film as a jerk. And my main complaint about this film is that too much time is spent on him, rather than on Patsy and her career. The film's climax is not entirely consistent with known facts; but it is very dramatic.

"Sweet Dreams" will appeal to older viewers, as well as to those who like country/western music. And, of course, being a biography, the film will appeal to viewers who like real life stories.

Biopics are always a difficult nut to crack. It's never easy to condense the bigger-than-life story of a legendary celebrity into a two-hour movie and still provide the viewer a complete feeling of satisfaction. What it needs to do is not only highlight the well-known peaks and valleys of their career and personal life, but then, and most importantly, write choice, definitive scenes that will flesh out and humanize the character.

Chronicling the life of a famous country singer is especially tricky. So many things can go wrong. Severe miscasting, a hokey, superficial story line, an overly glossy, sanitary, and/or inaccurate treatment of the source. Many of these gals have had their hard-knock life stories laid out. Loretta Lynn, Patsy Cline, Dottie West, Tammy Wynette, Barbara Mandrell. The best of the film pickings is assuredly 1980's "Coal Miner's Daughter," Loretta Lynn's backwoods tale. And, fair or not, everything similarly produced since has been up for comparison. Thus, "Sweet Dreams," the retelling of country and pop superstar Patsy Cline (1932-1963), had a lot going against it by the time of its release, which was only five years after "Coal Miner's Daughter." Not only identical in heartache and rags-to-riches narrative, Patsy and Loretta Lynn were actually sisters at heart. They KNEW each other. And so, well, I'm surprised this biography came off as well as it did.

"Sweet Dreams" would be relatively fine on its own but it suffers in comparison to you-know-what. Shorter in scope, detail and focus, it is the star performances that rise above the conventional material here and earns what respect it gets. Patsy the Star is short-shrifted here, electing to concentrate more on Patsy the Woman and her stormy off-stage love life. Not necessarily a wrong decision, it's just that the execution lacks that creative spark. Despite the use of Cline's original soundtrack (superbly lip-synched here by Lange) to a number of her greatest hits ("Crazy," "Walkin' After Midnight" and the title tune), the movie rests on the fact that you already KNOW Patsy Cline became a BIG, BIG star. It doesn't capture the magic and electricity of Patsy that made her the star she was.

Jessica Lange is absolutely luminous as Patsy. She does her proud. Neglecting Kline's entire childhood, the film begins with her in the mid-50s, weighed down by a stalled career and a benign, boring husband. Lange captures the essence and spirit of the feisty, indomitable Cline. Like a restless stallion, she breaks free and shakes up her life, tangling with a reckless, kick-ass cowboy who she hopes will put the twang back in her life. With Charlie Dick (played with macho flair by Ed Harris), Patsy gets much more than she bargained for. With a last name like "Dick," you know this is going to be a fightin' man with a short-trigger. The virile, blue-eyed Harris is the perfect tough-and-tumble co-star. He's so damn good when he's bad, and sexy to boot. He does more than justice to the real Charlie, who had little of Harris' charisma. The two stars show real chemistry here and it ends up being the film's strongest suit.

In support, Ann Wedgeworth as Patsy's careworn mom (remember her from "Three's Company?") finally drops the tawdry, superficial "Mrs. Robinson" stereotype she's done way too much of, and offers us a deeply-felt portrayal of a quiet, strongly spiritual down-home woman who stands behind her girl through thick or thin. Basically a stage actress, this is Wedgeworth's finest film role to date. Meanwhile, John Goodman gives us another broad, healthy dose of comedy relief as Harris' brawling bar buddy, while P.J. Soles offers her cushiony 'other slutty girlfriend' routine.

But, alas, "Sweet Dreams" has been done before...and better Potential female country singing star marries lusty, hard-drinking ne'er-do-well. The wife becomes a big success. The dirty dog slides into his lyin', cheatin' ways. They fight. They make up. And over again. It offers no new or unique approach to the standard female slogan, "Can't live with him, can't live without him."

I have watched this movie at least 30 times. Patsy Cline is one of my absolute favorite country singers, as I grew up in the 50's and she was both a pop and country chart topper. I also grew up in northern Minnesota, so when a fellow Minnesotan played the role of Patsy, I had to see this movie. Jessica Lange was dynamic in portraying Patsy as someone who "just wanted to make things right". The other actors in the movie also deserved oscar nominations along with Jessica, as they completed this story. This movie is being shown a lot lately on HBO, TNT, CMT, and AMC. I highly recommend it.

Reality is generally more complicated than any motion picture can possibly convey--and such is the case with SWEET DREAMS, the 1985 bio-pic of singer Patsy Cline, which ran into a firestorm of criticism at the time of its release. For Patsy Cline was not a figure from the remote past. She and her life were extremely well recalled by family, friends, and co-workers, and one and all attacked the film as an extremely inaccurate portrait of her, her husband Charlie, and her life and career.

To a certain extent, the validity of these complaints about the film are a matter of opinion. But it does seem likely that the script softened Cline's harder edges and over-emphasized the stormy nature of her marriage in order to cast her in the role of victim. What isn't opinion is the way the film treats her career: it didn't happen like that, and while the film presents her as a great star at the time of her death in truth she had released only a handful of widely distributed records by 1963--and while some of them were big hits, they weren't quite as big as you might think. Even the celebrated "Sweet Dreams" never made it to the top spot on any music chart, and it was not until well after her death that she received full recognition for her remarkable work.

So instead of truth, or even a good approximation of it, SWEET DREAMS gives us the legend, the folk tale of the rough-and-tumble girl with the big, emotional voice who came from no where, married an abusive husband, and leaped into stardom that was cut short by an untimely death. And as legend, the film works very well.

The weak point of the film is the script, which plays largely to a "domestic drama" aspect and tends to smooth out the characters in a "santized for your protection" sort of way. The direction and cinematography are no great shakes either, and ultimately SWEET DREAMS looks very much like a made-for-television movie. But the cast carries it off in fine style. Jessica Lang looks no more like Patsy Cline than I do, and her lip-scynchs to Cline's work is rather hit-and-miss, but she gives a truly memorable performance; Ed Harris equals her in the role of husband Charlie, and together they create a synergy that has tremendous power. The supporting cast is also quite good, with Ann Wedgeworth a standout in the role of Cline's mother Hilda.

And then there is that soundtrack. Even if you've heard all these songs a thousand times, they're still worth hearing again. Patsy Cline was truly an amazing artist. But the film does something odd with them: the bulk of the story is set during the 1950s, but there is not a 1950s-era Cline vocal to be heard in the entire film, everything is taken from her glory years at MCA between 1960 and 1963. And very often it seemed to me that the original scoring of Cline's songs had been replaced with new arrangements.

And that, ultimately, is rather typical of the film as a whole. Just a little change here, just a little inaccuracy there, and while they all seem slight individually, they add up to a fairly significant distortion collectively. The performances make it worth watching, and they bring it in at a solid four stars. But if you're expecting anything more than the glossy legend of Patsy Cline, you won't find it here.

Gary F. Taylor, aka GFT, Amazon Reviewer