5.3/10
2,104
48 user 14 critic

Forever Mine (1999)

An affair between a cabana boy and the young wife of a sinister politician triggers a 16-year vendetta between the two men.

Director:

Paul Schrader

Writer:

Paul Schrader

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1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Joseph Fiennes ... Manuel Esquema / Alan Riply
Ray Liotta ... Mark Brice
Gretchen Mol ... Ella Brice
Vincent Laresca ... Javier Cesti
Myk Watford ... Rick Martino
Lindsey Connell ... Stewardess
Sean Cw Johnson ... Randy (as Sean C W Johnson)
Shawn Proctor Shawn Proctor ... Cabana Boy
Russell Blackwell Russell Blackwell ... Business Associate
Jocelyn Snowdon Jocelyn Snowdon ... Young Associate's Companion
Kevi Katsuras Kevi Katsuras ... Julie, Six Year-old Girl
Shannon Lawson ... Emily, Julie's Mother
Ronald Knight ... Older Male Executive
Ginger King Ginger King ... Older Male's Companion
Ted Simonett Ted Simonett ... Mr. Galen
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Storyline

Two stories, 14 years apart, converge in a suburb of New York. Manuel Esquema, an international financier, whose face is badly scarred, is flying from Miami to help a New York politician negotiate a plea bargain with the Justice Department. Years before, this financier was a fresh-faced cabaña boy at a Miami Beach resort who fell in love with a young woman on holiday with her husband. The husband is now the pol, and he thinks he dispatched the cabaña boy long ago. What are Esquema's plans: revenge, mercy, or a complicated plan to seek again the woman's love? Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

Give All To Love See more »


Motion Picture Rating (MPAA)

Rated R for strong sexuality and violence, and for language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Canada | USA

Language:

English

Release Date:

4 October 2002 (Spain) See more »

Also Known As:

A Sombra de uma Vingança See more »

Filming Locations:

Florida, USA See more »

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Box Office

Budget:

$17,000,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Filmed at Don Cesar Hotel in St Pete Beach Florida. See more »

Quotes

Manuel Esquema: Everything has a purpose. Everybody has a purpose. It is my purpose to be with Ella. Nothing can change that; not you, not the police, not the courts. It's just a fact. Like... like plants turning to the Sun, or death, or taxes.
Mark Brice: What is this gibberish? Are you crazy? Nobody talks like this. Make sense!
Manuel Esquema: People are afraid to say what they feel. Ella is afraid.
Mark Brice: I'm not afraid to say what I feel. There's two types of people in this world; assholes and pricks. You're an asshole. And I'm a prick. Do ...
See more »

Crazy Credits

[prologue] "It is the addition of strangeness to beauty that constitutes the romantic character in art". - Walter Pater. See more »

Connections

References Scarface (1983) See more »

Soundtracks

Forever Mine
Written by Angelo Badalamenti, Julia Taylor-Stanley and James Shearman
Performed by Shana
Published by Anlon Music Co.
Warner Chappell and A&E Copyright
Arranged by James Shearman and Nick Raine
Produced by Julia Taylor-Stanley
See more »

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User Reviews

 
Love in the Post Modern Paradox
16 July 2012 | by LeonLouisRicciSee all my reviews

The intrigue of this movie is"no one will ever love you like this". Fair enough. It's a romance in the classic tradition of love once and forever.

But the romantic rendezvous quickly takes a quirky and complex twist. A twist of fate that is not fully realized or retorted in any satisfying solution. The 14 year development and "downward up-fall" of the two main male characters is woefully thin and without clarity.

There is enough sordid side play and noirish edge to maintain viewer interest but ultimately an unsatisfying and ugly ending lets us down in an odd denouement of devilish melodrama.

The some of the parts do not add up to anything substantial enough to sustain what could have been an exceptional picture puzzle. But the pieces do not fit snuggly together and we are left with a rough, uneven surface to what might have been the Writer/Director's exceptional ode to an era of movie magic he loves. But he unfortunately can not, without compromise, return, and so he is stuck in his own postmodern paradox.


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