huntleyhaverstock Reviews

Daddy Nostalgia (1990)

Daddy Nostalgie is a bittersweet glimpse into one family's struggle to be a family.

[28 June 2001]

Daddy Nostalgie centers its attention on Jane Birkin's character, Caroline, who is a successful screenwriter based in Paris. As the story opens, she receives a call from her mother explaining that her father is in the hospital recovering from heart surgery. Tony Russell, her father, played by Dirk Bogarde in his final role, was a successful international salesman who had to spend much of his career traveling abroad. Caroline, ever the dutiful daughter, then travels to the Cote d'Azur to be by her parents' side during this family crisis. During this time, Caroline finally has a chance to get to know her father for what might be the first time.

While most films tend to gloss over the more complex and lasting aspects of familial relationships, this film focuses on them. In life, every action is steeped in history, and every action carries with it consequences for good and/or for ill. This film is true to that reality. Daddy Nostalgie examines how people live with the consequences of their actions, how those consequences often echo through the generations, and how we can both love and hate someone at the same time.

What makes this film superior is how the director is able to show the emotional complexity of the characters. They are forced to confront many opposites, such as love and hate, life and death, marriage and divorce. While struggling to remain calm on the surface, each character must try to suppress the emotions being churned up within. Tavernier is able to show how everyone is successful, but only to a point, of maintaining such a false front. All are trying to hide their feelings from the others, but also from themselves. And it is why and how they maintain these facades that make this film both interesting and bittersweet.

Twisted Sheets (1997)

within every straight girl there is a lesbian screaming to get out

[7/10 · 21 June 2001]

Sue, an aspiring writer, takes a break from her typing to get some coffee at the local grocery store. There she runs into her ex-boyfriend Dale and his new girlfriend Sabrina. Feeling dejected, Sue finally accepts an invitation to the local lezzie bar from Shelley, a lesbian who has been trying to convince the straight writer that "within every straight girl there is a lesbian screaming to get out." At the bar Sue spots Sabrina and accepts her invitation to dance. The rest of the story progresses logically from there.

The Director, Chris Deacon, economically keeps the story moving. Whole scenes are hinted at rather than redundantly and luridly displayed. Here, what is not shown is as important as what is. I was also impressed with Brigitte Gall, who is expressively innocent as the "confused" Sue, and the cinematography, that allowed the actors to act and does well to the hideous sets. In short films, directors and actors often feel compelled to over-reach their grasp, and so push too hard. This often destroys the work. In 'Twisted Sheets', there is none of that. The direction and acting serve the story, making a film that is thoroughly entertaining.

This short film is entertaining, but not very interesting. First, while the acting and directing are handled with subtlety and humour, the premise is thrown at the audience with recklessness and audacity. Second, this is just another story about a woman who chooses to become lesbian. Finally, there are many other films that have handled this topic with greater depth and with more compassion.

Evidently Shelley was right, within every straight girl there is a lesbian screaming to get out; or at least she's right according to this short film.

A & P (1996)

A short film based on John Updike's story of the same name.

[6/10 · 15 April 2001]

John Updike's A & P is the subtle masterpiece that tells the story of Sammy, a young clerk at the local A & P supermarket. The story is set in 1961, in a world on the brink of a social awakening. The U.S. would soon leave behind its childlike innocence and open its eyes to a wider and more mature world view. Updike alludes to this through the character of the innocent young Sammy, Sean Hayes in his first film role, who is on the verge of his own awakening. His eyes are opened, literally and figuratively, when a bikini clad girl, Amy Smart, and her two friends walk into the store on an errand. These provocative young girls provoke different reactions in different people.

One would think that a film based on such a good story could not help but be a joy to watch; one would think. Schwartz' direction was stilted and obvious. His shot selection was awkward. He resorted to the use of voice-over, thus taking most of dialogue out of the mouths of the actors, who he generally prevented from actually performing. The Massachusetts accent attempted by Hayes was unsuccessful and unneeded. The music, which greatly contributed to the historical setting, was overused and at times was overwhelming. Schwartz' sledgehammer approach to direction ultimately detracts from Updike's delicate tale, making it difficult to enjoy.

Despite all the problems, this film is watchable for three main reasons. The background music perfectly set the mood of the socially naive world of 1961. The set direction was also very well done. These two very important, but often ignored, aspects of a film help to successfully transport the audience back in time. The third reason is, of course, having the opportunity to watch the early performances of the emerging young actors.

This film is flawed, but is worth watching if only for the Updike story and the early performances of future stars, Sean Hayes and Amy Smart.

Squeeze a Flower (1970)

This effervescent comedy leaves a sweet aftertaste.

[9/10 · 15 February 2001]

This warm-hearted film combines physical and verbal comedy into a fine blend which is pleasing to the palate. Although the fish-out-of-water plot may at first seem to be old wine in a new wine skin, the uniqueness of the central characters keeps the bouquet fresh and full bodied. The lightness of the direction is matched perfectly with the richness of the main character, Brother George. Squeeze A Flower promises to leave a warm, sweet aftertaste, so sit back, relax and enjoy this excellent vintage.