To crudely semi-plagiarize from Entertainment Weekly, who in their right mind would expect anything but good things from William Goldman's adaptation of a Stephen King novel directed by Scott Hicks (Shine) and starring Anthony Hopkins? Of course, Hollywood has been able to muck up a seemingly unmuckable roster in the past (Sphere comes immediately to mind) but please let me tell you now, this is no Sphere. This is a treasure.
People potentially put off by "adaption of a Stephen King novel" obviously haven't been reading him lately. Let me give you some perspective: did you like Shawshank Redemption, Stand By Me, The Green Mile, maybe even Apt Pupil? This is the King on display here, softened even more by the deft hand of William Goldman. Goldman speaks Kingese as well as Frank Darabont does, and my frequent readers will recognize that as high praise indeed. He shows without telling in an effortless, non-lingual way, and it's delightful. The late Piotr Sobocinski is the cinematographer, and this is indeed a glorious swansong; everything is beautiful, everyone is carefully placed in the frame, every visual detail is crisp and perfect, like the best parts of a favorite memory.
Before the show began, I told my companion that I knew I had read this book, it was on my shelf, I could picture the cover, but I had zip of an idea what it was about. The maddeningly vague ad campaign was no help either. As soon as Hopkins' hands curled around his paper shopping bags, I remembered the whole thing, and I was just so glad to be there. I understand why the ads and even the publicity copy is so vague - how do you describe it? If you haven't read the book, you would only be attracted by the pedigree. When my boyfriend asked what the movie was about when I came home, streaked in tears, I would only have been able to explain it by ruining it. So I said, it's just great. As I am telling you now: go forth, and reward the studio for making this movie.
Many of King's best works (It, Stand By Me, for example) depend on his brilliant, gleaming adoration of childhood friendships, notably around age 11-14, when the mind is the most open and innocence and curiosity and everything are just budding but have not ruined the mind. This film is no exception. It's wonderful. I cried, more than once, as did my very cynical (as a rule) male companion. This is one of those films where, actually, very few happy things happen, yet the feeling walking home is one of uplifted wonder and melancholy joy.
Anthony Hopkins' eyes can see forever. There are many unanswered questions with regards to his Ted Brautigan, but we believe him and believe in him because of his eyes. Mychael Danna's music (he also did The Sweet Hereafter and the Ice Storm) is hauntingly delicate, like the film itself. Our copy actually broke 80 minutes into the film - we weren't budging, despite missing 10 minutes and being told we'd have to wait 30 minutes. The whole room was transfixed - what would happen next? Lovely. Anton Yelchin is young Booby Garfield (David Morse is him grown up - take close look at all his props, they say so much about his character) and he is lovely, very open and natural and sweet and real. Mika Boorem (I recognized her, belatedly, as the child Ally McBeal, but she has a good resume) is also dreamlike in her perfection as the best gal pal.
Full Price for sure.
~~~~~~~~~~~~~~~~~~~~~~~ These reviews (c) 2001 Karina Montgomery. Please feel free to forward but just credit the reviewer in the text. Thanks. cinerina@flash.net Check out previous reviews at: http://www.cinerina.com http://ofcs.rottentomatoes.com - the Online Film Critics Society http://www.hsbr.net/reviews/karina/ - Hollywood Stock Exchange Brokerage Resource http://www.mediamotions.com http://www.capitol-city.com
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