Dance With Me

Posted on December 13, 2002 at 5:16 am

Former Miss America Vanessa Williams and Latin Superstar Cheyanne star in this story of a Cuban man who comes to Texas in search of his father and brings a new spirit to the people who work at a run-down dance studio. Children may not notice the creakiness of the plot and all audiences will be beguiled by the Latin dancing and the joy it brings to the dancers.

Cheyanne plays Rafael, who leaves Puerto Rico after his mother’s death to take a handyman job in the dance studio owned by John (Kris Kristofferson). Williams plays Ruby, a dance teacher determined to win the international championship. Rafael’s sweet nature endears him to everyone, even Ruby, a single mother whose past has left her reluctant to trust anyone.

Parents should know that the movie contains discussions of out of wedlock children (a key part of the movie involves John’s learning for the first time that he is Rafael’s father and Ruby was deserted by her dancing partner when she became pregnant with his child) and some mild profanity. The movie provides a good opportunity to discuss the importance of dreaming — and of working hard to achieve your dreams.

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Drama Family Issues For the Whole Family

Life is Beautiful

Posted on December 13, 2002 at 5:16 am

This Oscar-winner for Best Actor and Best Foreign Film is a “fable” is about a father’s love for his wife and son in the midst of the Holocaust. Writer/director Roberto Begnini stars as a Chaplinesque character who charms a beautiful teacher by creating a world of gentle magic around them. The first half of the movie is their sweet love story, with only faint foreshadowing of the tragedies that lie ahead.

But then Begnini and his wife and child are sent to a concentration camp. To protect his son’s life, he teaches him to hide from the guards during the day. To protect his son’s heart, he constructs an elaborate fantasy that they are participating in a very difficult contest to win the ultimate prize, a real tank. And his son finds that this make sense, and he goes along with it.

This movie inspired a lot of controversy from people who said that it was an inaccurate portrayal of the Holocaust, and that it was wrong to set a comedy, even a gentle bittersweet one, in a concentration camp. But the movie is never less than respectful of the suffering during the Holocaust, and of the impossibility of any kind of real portrayal of that experience. Even “Schindler’s List” is not a portrayal of the Holocaust. That experience is fundamentally incomprehensible. The best we can hope for from art is that it gives us glimpses. This movie gives us such a glimpse, but it is really about love, and the indominability of humanity even in the midst of inhumanity.

We often see in life and in movies that people react to extreme adversity by magnifying whatever sense of control they have left — think of Mrs. Van Dam’s focus on her coat in “The Diary of Anne Frank,” absurd in light of the fact that they never go outside, so she has no real need for a coat, but important because somehow she has chosen the coat as a place to locate her sense of herself as not having lost everything. In “Life is Beautiful,” the father focuses on his special talent for creating a feeling of magic to protect his son from the worst reality of the Holocaust, the sense of utter betrayal. Very importantly, he gives his son a sense of control, by letting him think that he has made the choice to participate in the contest. And knowing that he has kept his child’s faith intact gives him a sense of control, and purpose, that keeps him going.

This is an excellent movie for families to watch together, to discuss not just the historical framework but challenges that parents face when they see their children learn about tragedy and unfairness.

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Classic Comedy Drama Family Issues Romance Tragedy

Wonder Boys

Posted on December 13, 2002 at 5:16 am

This movie has a lot in common with its main character. Both are shambling and directionless, with a literary gloss and great deal of charm and intelligence. And both need all of that to be forgiven for their many failings.

Michael Douglas plays Grady Tripp, a college professor whose award- winning book was published seven years ago. He is under pressure from all sides. His third young, beautiful wife has just left him. His mistress Sara (Frances McDormand), who happens to be married to Tripp’s boss, is pregnant with Tripp’s child. His best student seems suicidal. Another student, who is also a tenant, is clearly interested in becoming young and beautiful wife number four. And his editor is pressing him for a new manuscript.

Tripp has a manuscript, now up to page 2612, but does not want to show it to anyone. Crabtree, the editor (Robert Downey, Jr.) arrives accompanied by a transvestite he met on the plane. And everyone ends up at a party at the home of the mistress and her husband, Tripp’s dean, a man who believes that Marilyn Monroe’s marriage to Joe DiMaggio was the defining moment of the 20th Century.

Tripp is irresponsible, but he cares about Sara more than he knew and he cares about James more than he thought he could. Perhaps it is because he wants to save in James what he fears he may have lost in himself — notice the way that Grady begins every sentence to James by using his name, as though to persuade himself that he is speaking to someone else. James is drunk on words and stories. Tripp may have been that way once, but now he has to resort to marijuana and whatever drugs he can scrounge from Crabtree’s suitcase.

In the course of the weekend, the dean’s dead dog, Marilyn Monroe’s wedding sweater, Crabtree’s luggage, and James’ manuscript end up in Tripp’s vintage convertible. That car then ferries the transvestite to his home (deconstructing the drag along the way), Tripp to his ex-wife’s parents’ house and his mistress’ greenhouse, then rescues James from his kindly but clueless parents, and is either stolen or retrieved by a man whose name is not Vernon but who looks like it should be.

In the course of this fantastic (in the literary sense) journey, all the characters are coping with problems and yet all are remarkably honorable and helpful. The ex-wife’s parents dress Tripp’s wound. The successful colleague tells Tripp how much he was moved by Tripp’s work. Even the man whose name is not Vernon gives Tripp and Crabtree a lift. In another movie, Tripp might think of stealing James’ manuscript, but in this one, he lets it replace his own, solving both James’ and Crabtree’s problems. Tripp limps through the movie with a bandaged hand, often wearing the ratty pink chenille bathrobe he wears when he writes. He is in something of a stupor, not just from alcohol and drugs, but from success, and failure. He still has James’ passion for writing, but he no longer has the innocence and sense of possibilities to “make the choices” necessary. When asked why he was writing the 2000-page book, all he can say is, “I couldn’t stop.” And when he says, “Sometimes people just need to be rescued,” he is talking about himself as much as James.

This grand mess of a movie has many pleasures, including a terrific soundtrack, marvelous performances, and a beguiling but highly improbable ending. Tripp’s colleague says that everyone has a story. What gets you from there to writing? He mentions faith, and Tripp mentions keeping at it. One reason is that stories like this one, highly imperfect but worthwhile, are what help us get to the ones that really make it all the way there.

Families who see this movie should talk about how the people in it establish their priorities and deal with the consequences.

Parents should know that this movie has drug and alcohol abuse, adultery, homosexual and heterosexual references (including a transvestite character), references to suicide, and very strong language.

People who enjoy this movie will also like Educating Rita and The Accidental Tourist.

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Drama Family Issues

Diamonds

Posted on December 13, 2002 at 5:16 am

Kirk Douglas plays Harry, an aging boxer recovering from a stroke, who wants to retreive some lost “magic diamonds” he once hid in Reno. So he sets off in a Thelma and Louise-style vintage convertible with his son (Dan Ackroyd) and grandson (Corbin Allred). And you haven’t seen many movies if you don’t guess that some major bonding is accomplished and some long-standing family wounds are healed along the way.

We want to like it. There’s a reason that road movies that feature both adventure and reconciliation are so popular, and of course we’re rooting for Kirk Douglas’ recovery from a stroke even more than for the character’s. And every so often it captures us with a genuine moment of humor or connection between the characters. But far more often it gets in its own way, especially with attitudes about drinking, smoking, fighting, and women that were out of date when the yellowing clippings in Harry’s scrapbook were first printed.

Parents should know that this movie originally received an R rating, but the MPAA backed down after Kirk Douglas lodged a complaint. They should have kept it an R. Nearly a third of the movie is set in a brothel, cutting back and forth between the sexual encounters of the three generations. While there is no nudity, the discussions of the encounters are explicit. Drinking, smoking, fighting, sex, and drug use are casually used as positive indicators of maturity and masculinity. A father takes his underage son to the brothel as an introduction to sex.

Families whose teens do see the movie might want to talk about the struggle Ackroyd’s character has to be the father he wishes his own father had been, the importance of letting people know that you love, respect, and support them, and how it feels to be suddenly alone and disabled.

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Drama Family Issues

Mansfield Park

Posted on December 13, 2002 at 5:16 am

Bodices may not be ripped, but they are certainly loosened in this very liberal adaptation of Jane Austen’s novel. This is not your mother’s “Mansfield Park.” Fans of the book are warned early on that there will be some significant departures when the credits read that the screenplay, by director Patricia Rozema, is adapted not just from the novel, but also from the letters and journals of its author, Jane Austen. And indeed, Rozema has effectively removed the book’s frail and mousy — if resolutely honorable — heroine, and replaced her with some amalgam of Austen’s feistier characters plus a dash of Austen herself. Then she threw in a little bit of Jo March, Susan B. Anthony, and even Scarlet O’Hara for good measure.

And, for those who are not literary purists, it is good measure indeed. The movie version’s heroine is far more cinematic than the Fanny Price of the book, and the adaptation works remarkably well. Less successful is the attempt to import 20th century sensibility on issues like slavery (Fanny’s wealthy relatives own slaves in the West Indies) and some wild anachronisms (Fanny lies casually on her bed while she talks to her male cousin; neighbor Mary Crawford even more casually smokes a small cigar). And there is even that most unforgivable sin of movies set in the past – a character who says, “After all, it’s 1806!”

In the movie, as in the book, Fanny Price is from a large and very poor family. When she is a young girl, she is invited to stay with rich relatives as something between a servant and a companion. She is befriended by her cousin Edmund, but ignored by his dissolute older brother Tom and his selfish sisters, neglected by their parents, and bullied by her aunt, also a poor relative under their care. She grows up reading everything she can and doing her best to get along with everyone.

Henry Crawford and his sister Mary, both wealthy and attractive, come to stay nearby. Omni-seductive, they are both weak-willed and manipulative. They charm everyone but Fanny, creating many crises of honor and reputation.

The movie is sumptuously produced. Australian actress Frances O’Connor is terrific as Fanny. To use one of Austen’s favorite words, she is “lively,” but she is also able to show us Fanny’s unshakeable honor and dignity. Playwright Harold Pinter is outstanding as Lord Bertram.

Families should talk about some of the issues raised by the movie, including the family’s dependence on slaves in the West Indies to maintain their luxurious lifestyle, and the limited options available to women that led Fanny’s cousin Maria to insist on marrying a foolish – but wealthy – man. They should also discuss the Crawfords, two of Austen’s most intriguing characters. With wealth and charm of their own, why was manipulating others so important to them? One of the great moral crises of the book is whether the young people should put on a play (answer: they should not because it would create too great an intimacy). But Austen never shied away from having characters make ineradicable moral and social mistakes, and most of her books feature at least one couple who run off together without getting married and suffer some serious consequences. Perhaps in frustration over the difficulty of making those actions seem real to today’s audiences, or perhaps just as a way of making a classic work seem unstuffy, this movie has more implicit and explicit sexuality than we have seen in other movies based on Austen’s books (except maybe for “Clueless”). Parents should know that there is one scene with an implied lesbian interest and a brief inexplicit scene of an adulterous couple. Fanny finds drawings depicting abuse of slaves, including rape. Fanny’s aunt takes opium, her cousin is often drunk, and Fanny gets tipsy at a party.

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Based on a book Drama Epic/Historical Family Issues
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