HEART AND SOULS
A film review by Mark R. Leeper
Copyright 1993 Mark R. Leeper
Capsule review: In some ways similar to ALL OF ME or A
GUY NAMED JOE, HEART AND SOULS turns out to be a likable and
endearing metaphysical fantasy and a real showcase for the
physical acting talents of Robert Downey, Jr. If this one
catches you in the right mood, it works well. Rating: +2 (-4
to +4).
The light "life after death" fantasy is still with us. You know the sort of film: TOPPER, A GUY NAMED JOE, STAIRWAY TO HEAVEN, HERE COMES MR. JORDAN, DEFENDING YOUR LIFE, even GHOST (though it had darker tones mixed in). They all have a nice, cushy, "death is just a change of state" feel. They were particularly popular during World War II when a comforting view of death was needed.
The latest entry, HEART AND SOULS, has a surprising degree of charm. We are introduced to four people, each working out his or her life but having unfinished business. Destiny puts them all on the same ill-fated bus which falls off the side of a bridge to avoid crashing into a car. The car just happens to contain a woman giving birth. All four are killed along with the driver, but the souls of the four passengers survive and are somehow metaphysically attached to Thomas Reilly, the baby. They are compelled never to leave Reilly's side. For a while they are visible to the young boy, but when this appears to do more harm than good, they follow him invisibly.
When Reilly becomes a man (played by Robert Downey, Jr.) the souls suddenly find they each have a mission and must appear to, and sometimes physically possess, Reilly.
Our four spirits are Charles Grodin as a singer with stage fright, Alfre Woodard as a woman torn from the children she loved, Tom Sizemore as a small-time hood with an attack of conscience, and Kyra Sedgwick as an overly diffident lover. But Downey outdoes Steve Martin's performance in ALL OF ME, being in turn possessed by the four spirits. Downey prior to CHAPLIN never seemed to have much screen presence. Now he is showing an amazing flair for physical comedy and a tremendous versatility.
There are some problems with the script. All too often American businesses are shown as having one conscienceless cut-throat and a bunch of executives living off his kills. This film falls into that same trap. What is more, the company that Downey's character seems to be liquidating is apparently never save. But in spite of that loose end, this is a likable fantasy with some of its kooky special effects and its phantom bus. It might be a little sugary for some tastes, but it also has its share of touching moments. I rate this a +2 on the -4 to +4 scale.
Mark R. Leeper
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