![]() Structurally, the film is designed to contrast the past and present, but this duality transfers somewhat schizophrenically in the combined efforts of the set designers, costumers, and especially the actors. ![]() Lyrical, and sometimes breathtaking but it frequently feels like we're watching the combined efforts of artists assigned to do their work in isolation - without an awareness of what others are doing. ![]() The film is, at turns, out and out funny, whimsical, stylish, The overall result is a charming musical that is nevertheless strangely choppy and uneven in tone. It's not unusual for women to develop crushes on older men, but the nearly 20-year age difference between Streisand and Montage did nothing to help the pair's already staggering lack of chemistry Fuller (Simon Oakland), who exists solely to provide Montand's character an opportunity to engage in a windy reincarnation debate. Meanwhile, too much screen time is allocated to a wholly expository character like Chabot's colleague, Dr. The obviously truncated Jack Nicholson subplot goes absolutely nowhere, Daisy's own relationship with Warren feels like a series of blackout skits, and I would have loved to have seen more of Leon Aames, the father from Minnelli's flawless Meet Me in St. In fact, there's so much going on, several aspects of the film feel as though they are shunted to the sidelines or neglected outright. Two, possibly three, romantic triangles (a hexagon, I suppose:Ĭhabot/Daisy/Melinda & Warren/Daisy/Tad) a college scandal plus time out to squeeze in several musical numbers. The sumptuous Regency period to sort out the whys and wherefores of Melinda's untimely death at least That's quite a lot going on, what with showy fantasy flashbacks to ![]()
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