Dede is a sole parent trying to bring up her son Fred. When it is discovered that Fred is a genius, she is determined to ensure that Fred has all the opportunities that he needs, and that ... See full summary »
Dede is a sole parent trying to bring up her son Fred. When it is discovered that Fred is a genius, she is determined to ensure that Fred has all the opportunities that he needs, and that he is not taken advantage of by people who forget that his extremely powerful intellect is harboured in the body and emotions of a child. Written by
Murray Chapman <email@example.com>
Continuity: When Fred is on the five-day trip with Jane, he goes into her office at her home, leaving the sliding door open, and the light outside the room is on (39:22). After returning a book and speaking with Miss Grierson about photos of her parents, he starts toward the door to leave, and the light is off (41:09). Then, in a longer shot of Fred sliding the door closed, it's back on again (41:14). See more »
It's funny, cause I *think* I can even remember being born. For the first two weeks of my life I didn't even have a name. Dede couldn't make up her mind. She finally decided on Fred. She said that she had never heard of a little kid named Fred before.
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Mozart's Piana Quartet In E Flat Major, KV493
Music by Wolfgang Amadeus Mozart (as Mozart)
Performed by Jacques Rouvier/Mozart String Trio
Courtesy of Denon/Nippon Columbia Co., Ltd.
By Arrangement with Warner Special Products See more »
If you don't love Fred, there's something wrong with you!
A great directorial debut by Jodie Foster, not overly ambitious, but wholly effective. She plays a mother who wants her genius son to have an ordinary life, once his intelligence is discovered, yet in his "normal life," he's a total misfit. The way Foster brings these fragile little egos together is intriguing. The film is also a showcase for Wiest's quirky charms, she adds much humanity to a character who on the surface is unlikable, although it is Foster who gives the more subtle performance. (I disagree with one reviewer at the time who suggested they should have switched roles, it's more interesting seeing them each cast against type.) There are brief but nice supporting turns from Celia Weston and the late Danitra Vance. But it is Adam Hann-Byrd who makes the movie a total pleasure. If The Sixth Sense were made during this time (1991), he would have been the only choice for Haley Joel Osment's role. Never precocious, never going out of his way to pull at heartstrings, he could give several grown-up actors lessons in how to give a nuanced performance. A thoroughly enjoyable film.
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