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To Gillian
on Her 37th Birthday (1996)
Professional film critics are often asked what types
of reviews are the hardest to write, good movies or
bad ones. Invariably, they will tell you that it is
those in-between, so-so movies that are hardest to write
about. I would ad that it's even hard when a movie is
average and yet made by one of your favorites. Such
is the case with this film, made by my favorite scripter
David E. Kelley.
Although it's a bit stagy and a bit of a soap opera,
this play turned script by Kelley has moments where
it is interesting and engaging. Most of it's success
can be attributed to it's effective cast. The man best
known for his wonderful words transformed to insight
and elegance on TV, doesn't score so well here. The
auteur who has brought us "Chicago Hope," "Doogie Howser,"
and, most notably, "Picket Fences," treats the film
like a piece for TV. One wonders if it wasn't originally
intended for that medium.
After all the piece was directed by Michael Pressman,
who has also directed TV projects for Kelley, including
episodes of "Chicago Hope" and "Picket Fences." It's
no wonder he turned to TV, his filmography leaves a
little to be desired. Pressman's previous forays into
the big screen include "Teenage Mutant Ninja Turtles
2," "Bad News Bears in Breaking Training," and "Doctor
Detroit." While "Gillian" is by no means a masterpiece,
it looks like one compared to these on his resume'.
To his credit, Pressman is wise in his casting her.
Peter Gallagher, Michelle Pfieffer (aka Mrs. Kelley),
Claire Danes, Laurie Fortier, Wendy Crewson, Bruce Altman,
Kathy Baker and Freddie Prinz Jr. all appear in the
film. Of these, Danes surely shines the brightest. Her
suppressed troubled teen brightens the screen at every
turn, even when she falls apart. Pfieffer is also good
in the movie turning in a sweet and subdued performance.
She continues to amaze on screen no matter what type
of role she plays. And while she often receives kudos
for her work, I still think it is fair to call her one
of the cinema's most "underrated" actors. Her beautiful
facade masks her brilliant performances often to her
detriment. Finally, Prinz, although he has very little
screen time, is quite charming. Here's a guy to watch
out for in the future.
Conversely, while aptly cast, Baker has a tough time
of it. The Kelley regular isn't playing a very nice
person, and we really don't care about her character.
She doesn't generate either enough friction or enough
sparks to help the piece. Of course, she may not be
at fault here. The script gives her very little to create
these fireworks. Crewson is in the same boat only in
a smaller role. And Gallagher, who is supposed to carry
the film, also has no room to move here. The claustrophobic
and overt depressing nature of the piece keeps him down.
What's odd is that the piece is supposed to be a bit
light-hearted and sweet in a way and yet tinged with
pathos. But Kelley seems to try too hard to wring seriousness
out of the work and at times the words and the plot
seems forced and contrived. The real problem is that
we don't really see the problem. We have to take Danes'
word for it that there is a problem. We don't understand
why she can't accept what Gallagher is doing here. Maybe
it would work better if we never saw Pfieffer's character.
Her being visible makes us think of her as a real person.
This causes problems for the viewer. And Danes doesn't
make it apparent why this is causing her such trouble.
We find it hard to believe that Gallagher would make
the choice to give up what he gives up here. For what
it's worth, Kelley didn't create the piece with it's
unusual set-up, but reworked a play by Michael Brady.
Still, Kelley must have seen the piece and liked it
to have optioned it for use here. What might save it
is beyond me. Without it's device it's rather lame.
With it, it doesn't make sense.
"Gillian" does have moments that will make you smile
and make you sympathetic. But it doesn't have enough
of that Kelley magic that his fans are dying for. It
may be a long time before we get anything the caliber
of "Picket Fences" out of the man again. After all,
most guys only have one masterpiece in them. This film,
in the Kelley arsenal, is okay at best. Compared to
the rest of the films around lately though, it's pretty
good. It just depends on how you judge it.
Note:
Kelley also acts as a Producer. Music by James Horner.
"You Make Me Feel Like Dancing" by Leo Sayer is done
karaoke style by Gallagher and Altman.
(Review written in 1997)
Report Card
Script: B+
Acting: B+
Cinematography\Lighting: C
Special Effects\Make Up: D-
Music: A
Final Grade: B+
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