SIX DEGREES OF SEPARATION
A film review by Jon A. Webb
Copyright 1994 Jon A. Webb
The home of a wealthy, culturally sophisticated New York couple is invaded by a man who says he is Sidney Poitier's son. They are charmed by him, their lives entwine with his, and the continuing series of incidents become dinner party fodder that ultimately changes their lives.
This film has two very strong performances, and several more than adequate ones. Stockard Channing is great as the rich wife. She's witty and interesting and her performance leaves you wanting to know more about her.
Will Smith is remarkably impressive as the young man who claims to be Poitier's son. His work here is especially impressive because his most prominent past work was on a television series. He manages to stay right on the edge of either portraying a somewhat theatrical but real person, or a remarkably good pretender -- you can't be sure.
The direction (by Frank Schepisi) is what carries the film. Not all the performances are as great as Stockard's and Smith's, but they are carefully entwined by someone who has obviously spent a long time observing people of this class, and who knows exactly how to portray them, their children, and their lives.
Performance by Donald Sutherland and Anthony Michael Hall (nice to see he's grown up now) are more than adequate. Sutherland has always annoyed me a little, with his fakery and choice of roles. Here he is less annoying than usual, because his air of insincerity fits the role so well. Hall is quite compelling as an intense gay MIT undergrad. I think this role will finally revive his career.
The central point of this film is somewhat similar to that in Kasdan's GRAND CANYON--something about the interconnectedness of all humanity ("Six Degrees of Separation" refers to the six mutual acquaintances that one study has said relate any two people in the world), how small incidents can change lives, and how love can triumph over all. It's an interesting theme, hopeful without being sentimental. It's intriguing to me that these films are coming out now, at the beginning of a new political era; are moviemakers responding to that, or am I simply noticing it more?
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