THE WEDDING GIFT
A film review by James Berardinelli
Copyright 1994 James Berardinelli
THE WEDDING GIFT (aka WIDE-EYED AND LEGLESS) Rating (0 to 10): 6.1
Date Released: 8/94 (varies)
Running Length: 1:27
Rated: PG-13 (Brief nudity, language, mature themes)
Starring: Julie Walters, Jim Broadbent, Sian Thomas, Thora Hird,
Andrew Lancel, Anastasia Mulroney
Director: Richard Loncraine
Producer: David Lascelles
Screenplay: Jack Rosenthal
Cinematography: Remi Adefarasin
Music: Colin Towns
Released by Miramax Films
Jim Broadbent is sort of the British film industry's guarantee. Every movie in which he has appeared can boast a certain level of quality, irrespective of whether Broadbent plays the lead (as in LIFE IS SWEET or the wickedly funny Mike Leigh short "A Sense of History") or has a supporting role (ENCHANTED APRIL, THE CRYING GAME, WIDOWS' PEAK). Thus, it's no surprise that THE WEDDING GIFT (which was shown as WIDE-EYED AND LEGLESS overseas) transcends its sappy script. Broadbent may not be able to turn this movie into an instant classic, but he keeps it watchable.
THE WEDDING GIFT utilizes the worn-out theme of "the unknown disease." Occasionally, this topic can be crafted into a rare and powerful film, such as 1992's LORENZO'S OIL. Most of the time, however, these kinds of stories are relegated to TV movies, a fare which too- rarely claims impressive performers or intelligent writing.
Whereas the cast of THE WEDDING GIFT is top-notch, the screenplay is not. Aside from the delightfully witty banter between Diana (Julie Walters) and Deric (Broadbent), there's little to distinguish this script. Its moments of genuine emotion are rare (I can think of two offhand, one of which occurs during the final scene), and it too often descends into melodrama. There are also a number of sub-themes, such as the right of a sick person to take their own life, that, after being introduced, are subsequently ignored.
The disease in question is as debilitating as it is undiagnosable. Despite repeated trips to different hospitals, and examinations by an army of consultants, no one can figure out what's wrong with Diana. Finally, having exhausted their complete battery of tests, the doctors arrive at the dubious conclusion that the blackouts, twisted hands, and weakened legs are all the result of hysteria. Diana won't buy that, and neither will her husband Deric.
As Diana's condition worsens, she begins to contemplate her own death, and what it will do to her husband, whose future happiness she wishes to assure. To that end, she arranges for Deric to fall in love with Aileen Armitage (Sian Thomas), an attractive, blind author that he encountered at a writer's conference. Diana and Aileen secretly meet and, in the process of getting to know one another, form an unusual bond.
This rather unoriginal material, which is "based on a true story," is given a tremendous lift by its performers. Broadbent brings the right mix of concern and nervous humor to Deric. Julie Walters is his perfect match, doing an excellent job of conveying both the physical and psychological pain caused by Diana's condition. Thora Birch is hilarious as Deric's senile mother, easily pilfering every scene she's in. The rest of the cast, while perhaps not as visible, is just as solid.
One of the keys to THE WEDDING GIFT's working on any level is the willingness of the audience to accept that Diana and Deric are genuinely in love (not the kind of romantic love portrayed in most films, but a deeper, more lasting emotion). While the script doesn't do a whole lot to get this across, Broadbent and Walters force the issue through their performances, with a look here and a touch there. A glimpse of Deric's worried features conveys more than any line of dialogue.
Watching what the actors do with their roles in THE WEDDING GIFT is the film's greatest asset. Enduring its attempts to twist emotions and wring tears from our eyes is its greatest detriment. A movie needs to be very good to get away with such obvious manipulation and, despite having its share of moments, THE WEDDING GIFT isn't strong enough--as almost everyone (except those who love to cry) is likely to recognize.
- James Berardinelli (blake7@cc.bellcore.com)
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