CAMILLA
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 5.4
U.S. Availability: varies (early 1995) Running Length: 1:29 MPAA Classification: PG-13 (Nudity, language, mature themes)
Starring: Jessica Tandy, Bridget Fonda, Elias Koteas, Maury Chaykin, Graham Greene, Hume Cronyn Director: Deepa Mehta Producer: Simon Relph Screenplay: Paul Quarrington based on a short story by Ali Jennings Cinematography: Guy Dufaux Music: Daniel Lanois Released by Miramax Films
The first word that comes to mind when attempting to describe CAMILLA is "ordinary." Nothing in this film, except perhaps a few appealing performances, is worth a backward glance. CAMILLA is the kind of dull, vapid road picture that makes melodramatic twaddle like Edward Zwick's 1992 LEAVING NORMAL look invigorating.
The problems start with the story--a sad combination of predictable circumstances, recycled characters, and requisite cliches. Admittedly, these are strung together with skill, but the lack of special moments makes CAMILLA a largely-unimpressive experience. This is all- too-familiar territory, with a worthy cast doing their best to salvage something.
Freda and Vincent Lopez (Bridget Fonda and Elias Koteas) are vacationing in Georgia. He's a graphic designer and she's a composer. One day, while taking a stroll, Freda hears violin music. Intrigued, she investigates and meets Camilla Cara (Jessica Tandy), an aging-but- energetic former concert performer living in a neighboring mansion owned by her movie producer son Harold (Maury Chaykin), whom she refers to as "a thief and a buffoon."
Vincent and Harold hit it off immediately, leading to a job offer for Vincent to design Harold's movie posters. Eager to get started, Vincent agrees to fly back to Toronto while Harold goes to Atlanta to check on the progress of his latest flick. Freda elects to remain in Georgia with Camilla. After the departure of the men, the two women quickly form a friendship that transcends the generation barrier. On a spur-of-the-moment impulse, they pack a few things and get in Freda's car to head north for the Winter Gardens in Toronto where Brahms' Violin Concerto--the most difficult piece ever attempted by Camilla--is scheduled to be performed. The trip doesn't go smoothly, however, and along the way there are a number of detours, including a disastrous ferry boat excursion and a stopover at Niagara Falls.
CAMILLA is an undemanding motion picture--too undemanding, in fact. Despite winning performances by the leads, there's little here for an audience to chew on. The film rambles along lazily, requiring little more from viewers than that they avoid going into a coma. Cursory attention is fine--go to the bathroom and you won't miss anything.
CAMILLA isn't a "bad" movie per se. It's just a rather flat and uninspired one--the kind of thing that started with high hopes and good intentions, but never developed further. It has a made-for-TV feel irrespective of the big-name cast, something like a DRIVING MISS DAISY lite. Nevertheless, Jessica Tandy, in the penultimate role of a distinguished career, shines through the subpar material, occasionally making this film not only bearable, but somewhat engaging.
- James Berardinelli (jberardinell@delphi.com)
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