Le choix d'une vie

A Walk on the Moon was Tony Goldwyn's directorial debut,

and all I can say is MORE! This is an excellently constructed film. The script was written by Pamela Gray is

fantastic. If you like a film with characters who could easily be real in believable situations that you come to care about, then you will love this film. Set in upstate New York in the summer of '69 the movie focuses on the choices and the resulting consequences made by a young woman who feels trapped in her role as wife and mother. That setting with the Vietnam War, social unrest, Woodstock, and the manned moon landing is arguably one of the most interesting times of the 20th Century and woven seamlessly into the film. The soundtrack with songs from the era fits perfectly and is great. The casting and performances were flawless. After seeing the film, I can't imagine anyone else in the roles. This was the first time I had seen Liev Schreiber who plays Marty, the husband, and Viggo Mortensen, the carefree lover. Both were terrific. Tovah Feldshuh, the perceptive earthy mother-in-law, and Anna Paquin, the rebellious daughter, were perfectly cast as well. And Diana Lane as Pearl, the lead, plays her multifaceted role well. I believe this film to be worthy of Academy consideration. The category that comes to mind (and there are others) is best supporting actor for Liev Schreiber. This film is a must see for the baby boom generation. Four stars!!!!

A touching look at life, human weaknesses, missed dreams, and opportunities.

Having read all of the posted reviews, what I find most interesting is the overall male consensus that the film portrays the husband as the guilty party for his wife's dissatisfaction. Being male, I find it hard to believe that so many of my gender feel so weak and betrayed.

Pearl, doesn't blame her husband and only learns to value and understand him better as also having missed out on some of life's potential. Also, I find it hard to accept the moralizing in the reviews. The film is not condoning the illicit relationship, the idyllic couplings and temporary `escape', are photographed as what we dream we've missed. Are acted out fantasies, to be moralized? Pearl knows, the fantasy can't last and a price will be paid.

Haven't we all missed out from time to time? How many men have fantasized (and acted out) Pearl's actions and expected to be forgiven. Why because they're men??? A well acted, beautifully filmed, and nicely scored remembrance, of the period of self exploration and human frailty.

A WALK ON THE MOON as written by Pamela Gray ("Music of the Heart") and directed by actor Tony Goldman conjures up more atmosphere for the year 1969 than any film to date. Remember Woodstock, the Jewish summer retreats in the Catskills, hippies, face and body painting, threats from the Vietnam era and promises of space habitation by the famous first walk on the moon? It is all faithfully created here as the background for a lovely little sentimental tale about family and fidelity.

The Kantrowitz family - Pearl (Diane Lane), Marty (Liev Schreiber), Alison (Anna Paquin), Daniel (Bobby Boriello) and Marty's mother Lilian (Tovah Feldshuh) - are spending their usual summer away form New York in a Catskill settlement bungalow along with other Jewish families of the same ilk. All seems swell, except that Marty must spend the weekdays returning to his job as a TV repairman, leaving the family under Pearl's and Lilian's care until his weekend visits. A hippie blouse salesman Walker Jerome (Viggo Mortensen) peddles his wares to the settlement and casually but inevitably Pearl feels an attraction to Walker, the man of adventure who represents all the lost dreams of becoming a mother and wife at the too early age of 17. Life has slipped her by but feels salvageable in Walker's advances.

Woodstock is close by and Pearl and Walker spend a day of hippie love-in in the crowd, not knowing that teenage Alison is also there observing their free love antics. This crisis event affects the family's unity and the way Pearl faces her moment of indiscretion with Marty and her children builds to a terrific climax.

Diane Lane, Viggo Mortenson, Liev Schreiber and Tovah Feldshuh completely inhabit these simple characters and pull us into accepting all aspects of the predicament of this family crisis. The confrontation among Lane, Schreiber and Mortenson is a trio of acting not to be forgotten. Tony Goldwyn has paced his film beautifully and proves that he has as great skill as a director as well as an actor. The cinematography by Anthony B. Richmond is as recreative of a special time on our history as has been captured. This little film will stay with you long after the credits are over. Grady Harp

The sixties were a time of great transition. At their beginning was the Peace Corps: a way to help those in need of a better life. At their end it was the me generation: how high can I get or how can I satiate my senses to the fullest. This movie is one of the best "encapsulations" of those events that I've seen.

The moral overtones of the movie are overwhelming. Wrongs occur. Do we run away from them? Do we trash our lives because of them? This movie attempts to address these questions. It does it well.

Finally, what brings it all together? In two words: Diane Lane. She possesses a deep but quiet beauty that makes it work. Her character asks, "I'm approaching middle age. I have children and a good but somewhat boring husband. Is this all there is?"

All ask this question as youth begins to fade. The answer this movie purports makes it exceptional and even classic. A hundred years from our descendants will look at this movie and appreciate its incite in human existence.

I like movies with a good character-centered plot and this certainly qualifies. So many Hollywood movies have a distinctly evil antagonist and a pure protagonist. There is no "bad guy" in this movie. All of the people have a side that I could relate to, but they make mistakes along the way.

In all a very good film