Breezy is a teen-aged hippy with a big heart. After taking a ride with a man who only wants her for sex, Breezy manages to escape. She runs to hide on a secluded property where stands the ... See full summary »
Harvard Law student Oliver Barrett IV and music student Jennifer Cavilleri share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds, the young ... See full summary »
Breezy is a teen-aged hippy with a big heart. After taking a ride with a man who only wants her for sex, Breezy manages to escape. She runs to hide on a secluded property where stands the home of a middle-aged divorced man, Frank Harmon. Frank reluctantly takes Breezy in only to fall unexpectedly in love with her. Written by
When Frank takes Breezy to see the ocean, it is supposed to be early morning. Yet the sun is coming up over the ocean, which would not be the case over the Pacific. The sun sets over the Pacific and rises over the Atlantic. See more »
One of Clint Eastwood's early yet still obscure directorial efforts, `Breezy' gently and charmingly explores the nature of wisdom, which can be present in the most unusual of people and the real meaning of happiness, which is usually found in the oddest and least-expected of places, usually when one is not looking for it.
Amid the smoldering cultural wreckage of the recently-ended 1960s with its nagging remnants of the shrill `don't trust anyone over 30' crowd and the seemingly still-unbridgeable `generation gap,' the odd and quirky relationship between the youthful, Ophelia-like Edith Alice `Breezy' Breezerman (Lenz) and the middle-aged Frank Harmon (Holden) successfully and simultaneously reveals several very simple but still frequently-ignored truths; that shrewdness and insight are not necessarily the sole province of the `aged' and that a carefree, happy spontaneity isn't and shouldn't be automatically restricted to the `young.' And, more subtly, we also are quietly reminded that neither wisdom nor happiness can realistically exist isolated from one another and that the bitter memories of our own respective pasts can often tragically prevent us from getting what we truly need the most.
Like the Italian neo-realist director Sergio Leone under which Eastwood successfully toiled in the 1960s, the personalities of the film's characters are deliberately and slowly intensified but not over-presented or stereotyped, which adds to the power, insight and poignancy of this understated and well-produced film.
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