Simon Birch (1998) Joseph Mazzello, Ian Michael Smith, Ashley Judd, Oliver Platt, David Strathairn, Dana Ivey, Jan Hooks, Jim Carrey. Music by Marc Shaiman. Screenplay by Mark Steven Johnson (suggested by John Irving's "A Prayer for Owen Meany"). Directed by Mark Steven Johnson. 113 minutes. Rated PG-13, 3 stars (out of five stars)
Review by Ed Johnson-Ott, NUVO Newsweekly www.nuvo-online.com/film/ Archive reviews at http://us.imdb.com/M/reviews_by?Edward+Johnson-ott To receive reviews by e-mail at no charge, send subscription requests to pbbp24a@prodigy.com
After watching "Simon Birch" for the first time, I raced to a bookstore and purchased a copy of John Irving's "A Prayer for Owen Meany." I was anxious to read the novel for a couple of reasons. First, the relationship between the two young boys in the film was so utterly charming that I wanted to spend more time with them. Second, the credits stated that the movie was "suggested by," rather than "based on," Irving's novel, and I wanted to discover why.
Prior to reading the book, I found "Simon Birch" a delightful, if overly manipulative, "Stand By Me" derivative. The story tells of best friends Joseph Wenteworth (Joseph Mazzelo) and Simon Birch (Ian Michael Smith). Joe is a sweet, unassuming kid who wonders if his radiant mother Rebecca (Ashley Judd) will ever decide the time is right to reveal the identity of the father he has never known. Shunned by his parents, tiny Simon, the "smallest delivery ever recorded in the history of Gravestown Memorial Hospital," spends as much time with Joe and his mother as possible. Highly intelligent and extremely outspoken, Simon's faith is his dominant feature. God made him small as part of a divine plan and, regardless of what anyone says, Simon views himself as a miracle and awaits his heroic destiny.
"Simon Birch" is set in the same idyllic '60s small-town neverland as "Stand By Me." Both films use the same framing device, beginning and ending with an adult version of one of the characters reflecting on his childhood. In the closing seconds of each film, the adult's reminiscing ends when his own son demands attention in the here and now. Both films feature a central character who endures parents who treat him as if he doesn't exist. Both feature an eye-to-eye encounter with a deer in the still countryside. And both include a public event that goes riotously wrong, incorporating a barfing fat kid for comic effect.
If only "Simon Birch" had copied "Stand By Me's" score as well. As opposed to the wistful, understated orchestral music that accented "Stand By Me," Marc Shaiman's score in "Simon Birch" is cloying and overbearing. The bullying music is not only annoying, it is unnecessary. This is a story with enough oomph to stir emotional reactions without a manipulative orchestra nudging us through the film.
Despite its dictatorial score and "Stand By Me Jr." sense of cinematic deja vu, "Simon Birch" offers a number of pleasures. The portrait of resolute faith is stirring and the story of two best friends on a search, one for his father and the other for his destiny, is compelling. The central players are particularly well cast. Ashley Judd is luminous as Rebecca, a strong, devoted mother with a perpetually sunny disposition. Oliver Platt is warm and winning as Ben Goodrich, a beau of Rebecca's who acts as surrogate father to both boys.
As Joe, "Jurassic Park" veteran Joseph Mazzelo gives a terrific performance, so strong that he can carry scenes even when his costar's inexperience shows. At 3'1," Ian Michael Smith is certainly the right size to play Simon Birch and, despite occasional lapses into stiffness, he does fine work for a first time actor. Together, the boys are magic, captivating as utterly devoted best friends.
Thanks to their winning performances, I found "Simon Birch" appealing and moving despite the oppressive score and Mark Steven Johnson's heavy- handed script and direction. And then I read the book.
John Irving's "A Prayer for Owen Meany" is remarkable; a rich, complex work of art betrayed by Johnson's adaptation. After reading the book it's easy to understand why Irving asked the filmmakers to change the names and use the phrase "suggested by." Even while making allowances for the daunting task of trying to adapt a novel of this scope to fit the confines of a feature film, certain of Johnson's decisions are baffling at best and infuriating at worst.
Why did he make Simon's parents grim troglodytes who pretend he doesn't exist? They weren't that way in the book. Why did he have Joe act sullen and standoffish around Ben for much of the film, when in the book he took to him almost instantly? Why did he turn most of the secondary characters into cardboard cut-outs or leering caricatures? Why did he remove the political overtones of the story? Why did he take an opus that spanned many years and compress it into one, forcing the invention of a climatic scene that feels painfully contrived? And most of all, why did he take the Christmas pageant scene, a harrowing, pivotal moment in the book, and turn it into a ham-handed farce of barf jokes and horny adolescent groping, with Simon exhibiting behavior completely at odds with his character?
But enough of that. These are questions that will likely never be answered. Maybe they'll make a film of John Irving's "A Prayer for Owen Meany" someday. Until then, there's "Simon Birch," a nice little story of friendship and faith that manages to charm despite its myriad problems. A bit of advice. If you're one of the many fans of the novel, put it completely out of your mind before you go to the theater, or skip the film entirely and reread the book. And if you haven't read the novel, be sure to do so...but for Pete's sake, wait after you've seen the movie.
© 1998 Ed Johnson-Ott
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