major-3

What a great idea. Two left lovers combine to take revenge on their ex-spouses. This could have been a deep-thinking, introspective, really important movie. Or a high-flying, no-holds-barred comedy. What it turned out to be is neither. The film is not a thought-provoking essay on the problems of separation, but on the other hand it also isn't an inventive or simply funny comedy about the errors of social behaviour. In fact, it doesn't work as a serious and dramatic film (as it probably wasn't intended to) nor as a comedy (with about three real laughs in 95 minutes one can hardly call it that).

To think of what the French or especially the Britains would have done with this subject is alluring, but at the same time entirely wrong. After all, Hollywood has given us more than many comedies that not only worked out fine but became classics. In this case it's mainly the director, Griffin Dunne, who really is to blame. He stretches out the emotional (or rather, as he films it, the pathetic) moments far too long and doesn't seem to know how to make the funny moments work, especially as he doesn't seem to know where to cut a frame short or where not to. And the fact that able actors like Meg Ryan and Matthew Broderick strive hard but never seem to know what exactly to do adds to the overall picture. In the end, what could have been a comedy classic turns out to be a real loss.

Do you remember the line "I depend on the kindness of strangers"? Well, of course it is from Tennessee Williams‚ "A Streetcar Named Desire‘, and sums up the meaning of the whole play. As it does sum up the meaning of this film. It's about the fight of imagination and reality – and again reality wins. Or so it seems.

If this film has any flaw it's the crime story woven around its center. The gay-hating killer seems an overused cliché nowadays but at the time of the film's production it was probably more than a symbol.

Nevertheless, the film moves – at least me – even a decade after it was made. If not a masterpiece, at least a very, very good film.

Well, I met Joe Black - and I wished the encounter hadn't been

so long. That is not to say the film is bad, on the contrary, it

is (for most of its time) very entertaining. Because the

emotions come across as very true and the lines bring up the

glorious past of screwball comedies. Which, in great part, is

due to the perfect casting. Anthony Hopkins, impeccable as

always, manages to make believable the turmoil and despair of a

man who has just learned that he is going to die - while still

not giving away the jokes. Any lesser actor would have either

opted for broad comedy or heart-feeling tragedy. That Sir

Anthony walks the fine line between these two choices is one

more proof for his genius (and I sincerely hope he won't call it

quits). Much chided Brad Pitt turns in a wonderfully subtle

performance. One really believes that his Death is becoming more

human through the experience of love, but Pitt always keeps that

glint in his eye that reminds us of who (or what) he really is.

Besides that he shows a profound talent as straight comedian.

The only drawback is Claire Forlani who tends to ham up her part

as the lover a bit. But why, in death's and taxes' name, did director Brest have to

stretch the delicate story out over three hours? Endlessly drawn

out scenes of people walking senselessly about, looking at each

other for eternity and repeating things that had been said

before make one wonder why nobody told him to "speed things up a

bit" (probably James Cameron was forcing them away at gunpoint). In the end we've got what Johnny Carson would have called: "Two

hours of splendid entertainment stretched over three hours.