MOONLIGHT AND VALENTINO
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.0
United States, 1995 U.S. Availability: 9/29/95 (wide) Running Length: 1:45 MPAA Classification: R (Mature themes, nudity, profanity) Theatrical Aspect Ratio: 2.35:1
Cast: Elizabeth Perkins, Gwyneth Paltrow, Whoopi Goldberg, Kathleen Turner, Jon Bon Jovi, Joseph Somner, Jeremy Sisto Director: David Anspaugh Producers: Alison Owen, Eric Fellner, and Tim Bevan Screenplay: Ellen Simon based on her play Cinematography: Julio Macat Music: Howard Shore U.S. Distributor: Gramercy Pictures
Grief is a difficult subject for a motion picture to address. Handled improperly, the emotion can be conveyed as shallow and insincere. A Hollywood film's insatiable need to contain feel-good moments invariably diverts scripts in this direction. MOONLIGHT AND VALENTINO represents a constant struggle between presenting a heartfelt examination of the effects of an unexpected death and manipulating the audience.
The function of a solid performance should be to elevate an intelligent script to the next level. In MOONLIGHT AND VALENTINO, however, the actors save a rather ordinary screenplay from going down the drain. There's nothing radically wrong with the material--it's just mundane and predictable. The movie doesn't contain any surprises, and there are times when the legitimacy of the characters' emotions are in question. Those wanting an astonishingly genuine portrait of grief should check out Krzysztof Kieslowski's vastly superior BLUE (the first film in his THREE COLORS trilogy). As good as Elizabeth Perkins is here, she can't hold a candle to Juliette Binoche's emotionally shattered Julie.
Perkins is Rebecca, a thirty-something widow whose husband was killed while jogging. She's convincing in the role, where she's constantly trying to cope with repressed emotions. Her support system includes her sister Lucy (Gwyneth Paltrow), her best friend, Sylvie (Whoopi Goldberg), and her ex-stepmother, Alberta (Kathleen Turner). None of these women are the picture of psychological stability, however. Lucy, a chain-smoker whose idea of breakfast is a cigarette and a can of Pepsi, hasn't been able to get over her mother's death from cancer--and that happened fourteen years ago. Sylvie is trapped in a dying marriage with a husband she keeps at arm's length. And Alberta, a big time Wall Street mover and shaker, has become so caught up in the world of high finance that she's lost the ability to relate on a human level.
Perkins isn't MOONLIGHT AND VALENTINO's sole shining beacon of acting. Gwyneth Paltrow (FLESH AND BONE, SEVEN) gives a wonderful performance, mixing a natural upbeat energy with expressive eyes. Paltrow is also blessed with the rare ability to deliver corny lines of dialogue in a completely natural fashion. Jon Bon Jovi, in a small role as a housepainter who captures the eye of every woman in the film, also acquits himself admirably. Whoopi Goldberg and Kathleen Turner, however, are not as impressive, with Goldberg seeming especially flat.
Perhaps the most disappointing aspect of this film is the facile manner in which it resolves all the various emotional tribulations. The ending of MOONLIGHT AND VALENTINO is so silly and over-the-top that it's more likely to have the viewer shaking her or his head than reaching for a Kleenex. Admittedly, there are moments likely to prompt a tear or two, but there's also quite a bit that doesn't ring true. Many of the interpersonal conflicts (such as Lucy and Alberta's strained relationship) feel like scripted contrivances; it's only when the story delves into the characters' inner turmoil that it strikes the right chord. Predictably, the result is a mixed bag--a study of grief and friendship that might have been more effective had the script been better-focused and the director's approach less heavy-handed.
- James Berardinelli (jberardinell@delphi.com)
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