Le bayou

This movie is for all the people who were enthralled by Runaway Train and wondered what happened to its director. Well, he eventually made Tango and Cash; which has its time and place, but he also made this bonafide work of greatness. It isn't a kinetically fierce work of cinema like Runaway Train, but there is so much else here for the viewer to mull over. A character driven story where none of the characters are wholly endearing, but all of them are vulnerable and forgiveable. While the movie grips you with its stark examination of colliding cultures, it never for a moment lets you forget that everyone involved is a real person.

This is one of my favorite movies. Barbara Hershey is awesome. The portrayal of the bayou is very realistic, claustrophobic, eerie, and downright real. It's kind of a feminine Deliverance. I'm glad I saw this when it came out as it is hard to find now--not on DVD. Definitely worth it. Should have been up for a few Oscars. Why can't it be out on DVD? This is an important film also in that it shows there is more drama to the swamp as landscape that one would think with all the swamp creature movies out there. Yes, there really are creatures in the swamp, but there are also people, just like us. The brothers are also great and the cinematography is stupendous.

It's hard to even put one's finger on what Konchalovskiy actually thought he was doing because as a whole the film doesn't hold together and looks rather fragmented. Maybe he wanted to do a horror flick or he didn't even have a coherent concept but just went shooting and hoping that something will come out of it?

The script has distinctive feeling of an old school Russian theatrical play - too much pathos and sharp separations between formal acts. That damages the flow and makes it look too verbal and melodramatic (which does work for live theater), as if it was used because they (3 writers) didn't have enough ideas for a smooth flow. Also a retard son was a cliché without any purpose or history.

The cast was very uneven in quality and makes me think that maybe Konchalovskiy run out of ideas on what do do with actors. Barbara Hershey has done a great job but the character is still monotone and that's a direction flaw (she has done enough very different characters to be able to portray a character transition). Martha Plimpton did well as Grace but it looks like she was left to her own devices and she needed directional help to go from "well" to "great". Jill Clayburgh was abysmal, ruined half of the flick and made me think how would Meryl Strip or Glenn Close make that role fly sky high.

Cinematography was way to much of a Chris Menges showing off and not thinking about the whole. In some scenes it looks so artificial that it make you snap out of the flow. Also it's way too much of a flat gray and lacking a range which is a trap that indulgent cinematographers sometimes fall into. Whatever he saw as gradations of gray on the set is lost even on celluloid and turns into a smudge in digital.

Portraying eerie requires enough contrast for the audience at large to see visual structure instead of a flat surface. Some thinking and effort to transition from say lush green to foggy to rainy to "vapor above a water" and some testing to check what is realistically discernible on screen with the tech at hand.

Barbara Hershey was incredible as usual. This film will stay with you well after its over.

This film seems at first pretentious and then very thoughtful.

It begins as a shallow magazine photographer and her daughter travel deep into the Bayou to research their family history. As they meet and establish relationships with their cousins, the story evolves into a truly haunting display of modern life vs. isolation, and the ways in which people relate to each other. Barbara Hershey is especially excellent as a tough but deeply loving widow.