LAST SUMMER IN THE HAMPTONS
A film review by James Berardinelli
Copyright 1996 James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
United States, 1995 U.S. Release Date: beginning 12/95 (limited) Running Length: 1:45 MPAA Classification: R (Mature themes, profanity) Theatrical Aspect Ratio: 1.85:1
Cast: Victoria Foyt, Viveca Lindfors, Jon Robin Baitz, Andre Gregory, Martha Plimpton, Brooke Smith, Roddy McDowall Director: Henry Jaglom Producer: Judith Wolinsky Screenplay: Henry Jaglom and Victoria Foyt Cinematography: Hanania Baer U.S. Distributor: the Rainbow Film Co.
With a style that's a cross between VANYA ON 42ND ST. and a home movie, Henry Jaglom's LAST SUMMER IN THE HAMPTONS pulls the viewer in. This intimate look at a dysfunctional family uses a perspective so seemingly-real that it would be easy to mistake parts of this film for a documentary rather than a work of fiction. Hanania Baer's straightforward cinematography contributes to the illusion, as does a script with frank dialogue that often concentrates on minutiae.
The story, which is really just an excuse for monologues on assorted profundities, dialogue about almost anything, and quirky character interaction, is set in East Hampton, Long Island. There, three generations of a "theater family" are spending the final weekend of their last summer at a home that has served as their vacation retreat and acting school for decades. Because of their declining economic fortunes, they can no longer afford the place, so the family matriarch, Helena Mora (Viveca Lindfors), has been forced to put it on the market.
Gathered for this weekend are an odd assortment of people, including pupils of the acting school, friends, and relatives. The "honored visitor" is actress Oona Hart (Victoria Foyt), a Hollywood star who has just hit it big with a blockbuster movie. However, she's less interested in headlining the inevitable sequel than in exploring "meaningful" work, such as taking the lead role in a play written by Helena's grandson, Jake (Jon Robin Baitz).
Screen life mirrors real life in LAST SUMMER IN THE HAMPTONS. Helena's career reflects that of Lindfors, the actress who plays her (this was Lindfors' final performance before her death last October). Both have spent long, rewarding careers on screen and on stage, and have little cause to regret their choices. Real-life playwright Baitz plays the author of a production that everyone wants to be a part of. Renowned director Andre Gregory plays a director, and numerous members of New York's acting community take up roles they should be at home in.
At the crux of LAST SUMMER IN THE HAMPTONS lies the age-old question of commercial viability versus artistic honesty. Can something that makes money also be artistically pure? Oona is wondering this when she comes to the Hamptons, since her career aspirations are divided between making money and doing "real" acting. This issue is mulled over during a number of the film's seemingly-endless conversations, with all sorts of interesting viewpoints coming to light. There is, of course, no resolution.
The melodrama illustrating the emotional fractures within the family is less successful. In Jake's words, his relatives are "a barrel of theatrical eels poisoning one another over and over." According to him, none of them can do anything without turning it into a performance. He apparently includes himself in that sweeping generalization, since one of the most unpleasant revelations concerns his relationship with his sister. Jaglom occasionally goes overboard trying to get us to care about the characters. The well-honed dialogue and intimate camerawork would have been enough without the soap-opera-like interludes.
As might be expected, the best performance is turned in by Viveca Lindfors, who, like Jean Moreau, could boast screen presence even at an advanced age. She heads a cast that doesn't have many weak participants. When the screenplay grows thin, the wealth of acting ability pushes LAST SUMMER IN THE HAMPTONS through the rough spots. Whether tightly-scripted or not, many scenes have an improvised feel.
LAST SUMMER IN THE HAMPTONS is tailor-made for those who enjoy talky, somewhat pretentious, dialogue-rich motion pictures. While the character interaction isn't as sharp as in an Eric Rohmer picture, it is deft enough to involve an interested audience. LAST SUMMER IN THE HAMPTONS isn't a landmark film, and it doesn't broach any new issues, but the unconventional style makes it worthwhile for those who appreciate offbeat fare.
- James Berardinelli e-mail: jberardinell@delphi.com, berardin@bc.cybernex.net web: http://www2.cybernex.net/~berardin
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