Michael has written a schollarly book on the revolutionary war. He has sold the film rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, ... See full summary »
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An undercover FBI agent falls in love with a recently widowed mafia wife seeking to start her life over after her husband's murder and who is also pursued by a libidinous mafia kingpin seeking to claim her for himself.
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A wealthy writer who has had terrible experiences with money-hungry girlfriends & ex-wives pretends to be a broke, washed-up novelist to see if the woman he loves wants him for himself or just for his money.
Michael has written a schollarly book on the revolutionary war. He has sold the film rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, directors want to re-stage battles, and he becomes very infatuated with Faith who will play the female lead in the movie. At the same time, he is fighting with his crazy mother who thinks the Devil lives in her kitchen, and his girlfriend who is talking about commitment. Written by
John Vogel <firstname.lastname@example.org>
According to the Angelfire website, this film examines the deeper thematic question: "The issue is, how far should film-makers go in disregarding historical truth in order to obtain audience approval? Films are, of necessity, separate and distinct from their source material - but in the trade-off between authenticity and popularity, where is the balance to be struck?" See more »
[on seeing Michael nearly pick a fight with her co-star Elliott out of jealousy]
I think if you have a complaint, you ought to take it up with me.
Exactly how far do you take being Mary Slocum?
How far do you take being an historian?
I would stop short of sleeping with George the Third. *Why* would you have anything to do with him?
Because he's a witty, charming man, and because it helps our scenes.
Helps your *scenes*?
When I look in his eyes now, there's someone there. Do you--do you know what...
[...] See more »
It was not too much of a strain for Alan Alda to do Sweet Liberty as his character of Hawkeye Pierce from MASH stepped right from the small screen to the big. Imagine Hawkeye as an American history professor writing a book on the southern theater of the American Revolution and you've got a start to Sweet Liberty.
Alda has not only written a book, but it was so good that he got some big bucks from Hollywood for the screen rights. And the company is going to film on location in North Carolina where Alda teaches history at a college and where he participates in the annual recreation of the Battle of Cowpens. But one read of what the Hollywood writers have done to his work and he's ready to sue.
Well that's not going to work because they've got the contract and the lawyers to back them up. How to salvage his work, for that he turns to screenwriter Bob Hoskins to help him navigate the ways of the movie business jungle. Hoskins too would like to see his name on something worthwhile and maybe Academy Award winning.
This involves Alda wooing in a different way stars of the film Michael Caine and Michelle Pheiffer. Caine is quite a wooer himself and the best performance from the supporting cast is that of Lois Chiles who plays Caine's wife who's decided he's been on too long a leash.
But in the scenes he's in Bob Hoskins truly steals Sweet Liberty. He's the quintessential Hollywood man who drags Alan Alda along through the highways and byways of movie speak. Saul Rubinek is also good as a most harassed and egotistical director.
I would like to have seen more of Lillian Gish playing Alda's dotty mother who wants to hook up with a bricklayer she had a LONG ago fling with. It's that way with Alzheimer's patients they remember something from ages ago, but not what they had for dinner yesterday. All I can say was the sex must have been fabulous.
Sweet Liberty is nice sparkling comedy about the business of making movies.
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