Souvenirs d'amour

I knew I wouldn't like the film as much as the novel, which was so intelligently written. But other than the fact that the casting was somewhat off (in the book, the age difference is not so very noticeable and the relationship is much more believable) I have to say I was glued to the screen. I admit there were some lame lines of dialogue that the author of the novel wouldn't have written, but it was just so good to see a smart and intelligent film (my God, they quoted Yeats!) on TV that I loved it. And Jacqueline Bisset just gets more beautiful and talented as time goes on. We need more roles like this one for actresses over forty.

Unimpressive, dull and sometimes pretensious TV movie about a middle aged woman (Bisset) who discovered that his old time husband (Mancuso) is betraying her with a young secretary; after the discovery, the poor wife goes back to the city where she lives when she was a teenager justo to reopen an old and decayed ballroom. This movie could be a good chance to discuss with more sharpness the anguish, troubles and fantasies of a feminine soul - especially after a marriage breakup - but unfortunately misses the point and is just a routine and unconvincing love story, narrated like a classic and old-fashioned soap opera. I give this a 4 (four).

a pink movie like too many others. clichés, same rules of an impossible love story, links with the past and the second youth. few drops of drama and a good actress as axis of a mediocre story. so, the good thing is the conclusion after its end. because, obvious, it is not so bad. decent solutions of script for few confuse details and the desire of Jaquelline Bisset to use each possibility of credibility for her character are the good points. the bad thing could be Eric Mabius who is real uncomfortable in a role who pretend not very much from his actor. but the result is OK , in part because it is the expected one. nothing surprises. few beautiful scenes. and a nice film about the second chance and the true love.

Beautifully executed script. My only complaint was that Jackie Bissett's accent was not explained and, as in the case of another watcher, I agreed 100% that whereas Eric Mabius was perfect in his role and totally comfortable in his/John's character being in love with an older woman, even to the end of the film, Jackie B. (who had plenty of experience in this situation as in "Rich and Famous") did not seem comfortable in return. This, beyond the fact that her character had been fleetingly in love with John's father over 25 years before. This was a beautiful story and I will seek out the book by Kinnon. Embarrassed to say that since I am in the same place now that Maggie was in the film, I teared through the entire film. Eric Mabius' powerful and perfect performance is in part responsible for my high grade. He was able to continue his character's persona created by another actor as his father giving the same passionate human flavor that a son would have who was very like his father. Beautiful!

Jacqui Bisset even at 58 still projects a vixen quality that belies her obvious maturity, here she has the opportunity to showcase her age as her asset and integral to the storyline, but ultimately, the plot is thin, the characters and situations clichéd and un-involving. She plays a woman scorned by philandering husband (Mancuso) and elects to take a trip back through memory lane to a place in which she worked briefly some thirty years earlier, and where she had a brief but torrid liaison with a man named Patrick. Patrick has since both married and died, but his son (Mabius) is a tangible reminder of her brief encounter with Patrick (but not her progeny - it's not that kind of movie) and serves to vicariously rekindle the flame she shared with his late father.

It's a little disconcerting watching the two engage in the lovey-dovey dialogue and passionate embraces, the kisses looking anything but intimate. There's this whole 'Danielle Steele' quality to the movie that holds it back from the mature, poignant tale it aims to be, although Bisset at least gives an apparently sincere performance in a complex characterisation that exhibits conflicted emotions and motivations. Despite the fact her character is criticised, ostracised and made to feel 'trashy' by townsfolk concerned for Mabius' character's welfare, Bisset never becomes a tragic figure, retaining dignity even despite the lame dialogue and clichéd situations.

TV movie of mediocre quality, elevated marginally by the star presence of Bisset ought to appeal to those looking for the TV cousin (and predecessor) of "Under the Tuscan Sun", or just those who remain enamoured by the evergreen Bisset.