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Alfred Hitchcock: "Cary Grant is the only actor I ever loved in my whole life."
Billy Wilder: "Happiness is working with Jack Lemmon."
Stanley Kubrick: "There are very few directors, about whom you'd say you automatically have to see everything they do. I'd put Fellini, Bergman and David Lean at the head of my first list, and Truffaut at the head of the next level."
William Friedkin: “Just watch the films of Alfred Hitchcock. That’s all you need to know about how to make films. It’s what I did.”
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Reviews
Alita: Battle Angel (2019)
An Impressive Project, Mixed Results
I never saw the source material for this futuristic sci-fi story about a mecha-technician who finds the partial remains of a cyborg in a junk pile, and uses his skills to reboot and rehab her. Christoph Waltz plays Dr. Dyson Ido, the finder, and Rose Salazar plays the found cyborg he names Alita. It is2563, three hundred years after "The Fall", and they live on the remaining inhabited world, under the shadow--physically and metaphorically---of Zalem, a floating city.
Alita has no memories of her past, but she discovers she has physical abilities that save her and her friends when there is danger. The world she lives in will remind viewers of other sci-fi films. A familiar trope can be seen as pleasant homage or annoying copy, depending upon one's point of view.
But "Alita" includes plenty of CGI that is impressive. Rarely does an effect seem unpolished or incongruous. Alita herself is CGI, built on a performance capture of Rose Salazar's gestures and facial movements. It is impressive, and it integrates well into non-CGI spaces and next to non-CGI actors. Still, I must admit I was never totally immersed in the action because of Alita's CGI essence.
As for story, the running time is packed with it, allowing less time for character development. That may be why I feel that the film lacks the charm of, say, "Firefly".
The ending is an abrupt cliffhanger, which gives little satisfaction, especially since a sequel will probably never resolve the cognitive dissonance of the final scene. Alita must stand on the threshold of a story that will never be told, and we must live with that choice.
Oklahoma! (1955)
A Musical Classic
This film is successful in various ways. First, it is very effective in opening up the stage musical, which is critical in a film where most of the action is outdoors. Secondly, it includes the wonderful dance of Agnes de Mille, who successfully integrated dance into the overall story. Thirdly, it brought the talented Shirley Jones to the big screen.
The best aspect of "Oklahoma!" is the singing of Jones and Gordon MacRae. Their performances are stellar, elevating the two leads to iconic status, and bringing life to the music of Rodgers and Hammerstein. And what music it is! Every song (except maybe one) is hummable and delightful.
The one exception is "Pore Jud is Daid". Like many musicals, this one has its dark aspect: the presence of a character, Jud (Rod Steiger), who can be considered a villain. Though Jud adds dramatic import, one can contend that the narrative focuses too much and too long on his story.
I would also second guess the casting of Gloria Grahame as Ado Annie. However, the other roles are wonderfully acted. Gene Nelson deserves special attention for his multi-faceted performance. But it is Jones and MacRae who lift this performance on their shoulders and place it among the best musicals of all time.
No Reservations (2007)
Moderately Enjoyable
"No Reservations" is a dramedy about Kate (Catherine Zeta-Jones), a talented chef who is a loner. She has no close friends or family, but she seems content to work long hours, dedicated to her craft. Tragedy brings a young girl into her life, requiring her to reorder her predictable existence. And then a man (Aaron Eckhart) comes along to further disrupt her routine.
This film has a subdued feeling, primarily because Kate rarely shows emotions. There is a story arc, but her lack of emotional expression puts a damper on the impact of the film. Also, there are no real surprises, further suppressing the viewer's capacity for emotional connection.
The acting is fine, but the writing handcuffs the performances, yielding a film that is only moderating engaging.
Murder by Death (1976)
A Satisfactory, Simonized Satire
This spoof of whodunits features a star-studded cast similar to two other films of its time: "Murder on the Orient Express" (1974) and "Death on the Nile (1978).
On a dark and stormy night, five sleuths and their aides arrive at the mysterious mansion of Lionel Twain (Truman Capote), where they were invited for "dinner and murder". When all are assembled, there are odd happenings, and Twain announces the time and place of a murder. He challenges the crime-solvers to solve the crime and win a $1 million reward.
The story, written by Neil Simon, is filled with puns and gags of all types. The humor is moderately successful. But I must admit he had me at "Lionel Twain".
The guests are: Sam Diamond (Peter Falk), a Bogart clone whose style is rather crude (a diamond in the rough) compared to the others, who are refined and sophisticated; Sidney Wang (Peter Sellers), who speaks in inscrutable fortune-cookie similes; Milo Perrier (James Coco), a Belgian who loves chocolate, which is a conceptual pun; Jessica Marbles (Elsa Lanchester), a parody of Agatha Christie's spinster sleuth; and Dick and Dora Charleston (David Niven and Maggie Smith), who arrive with their terrier, ready to tipple.
The characterizations are good. In particular, I enjoyed Peter Sellers' performance, though I am not a huge fan of his. Capote is the weakest link, but his role is rather small.
Here is a spoiler of a clue, as Wang might proclaim: Man who play poker best beware blindman's bluff.
Gold Diggers in Paris (1938)
Enjoyable Entertainment
There should be a name for the style of films where the studio tries to include as many of their stars and novelty acts as possible. Such an approach can make it difficult to stick to a concise story arc, so these films are usually not highly regarded. In "Gold Diggers of Paris", the viewer will quickly note the inclusion of several comedic character actors, like Hugh Herbert, Allen Jenkins, Mabel Todd, and Fritz Feld. The plot is about a group of show girls who are mistaken for a ballet troupe and travel to Paris to compete in a dance competition. It surely seems like they are cueing up a screwball comedy.
But then Rudy Vallee and Rosemary Lane (of the four Lane sisters) deliver a straight singing duet that is rather sublime.
Just when you think the film might become a traditional romance, the Schnickelfritz Band (an ephemeral group) takes the stage and dispenses with any pretensions of a "sensible" story.
Somehow, this eclectic mélange of talents delivers entertainment fun. It contains strong music and dance numbers and some wonderfully wacky moments . Thank Busby Berkeley for the dance numbers, which showcase Big Apple moves and his penchant for big productions.
Surprisingly, I found myself noticing the fashions of both men and women, which were extremely stylish.
High Wall (1947)
Stylistic And Suspenseful
The film begins in a shadowy nightclub, where a man drinks alone at the end of the bar. The tone is set. This is noir, atmospheric and stark. It turns out that the man is Willard Whitcombe (Herbert Marshall), who leaves the bar and goes into work. He asks for an assistant, but is told she left for the day.
Cut to a car careening at high speed through the night, with the sound of a police siren in the distance. The driver crashes through a barrier, and the car drives over an embankment into a creek. Later we find that the driver was Steven Kenet (Robert Taylor). He survives the crash, but his wife is dead. He is accused of her strangulation. The DA's office think they have it all figured out, but the police turn Kenet over to the local psychiatric hospital for evaluation.
The film's plot is rather complex, but easy to follow. It revolves around Kenet's desire to regain some lost memories, and his desire to reunite with his young son. A central figure in the story is the psychiatrist assigned his case, Dr. Ann Lorrison (Audrey Totter). She operates by the book, but can't help wanting to assist Kenet in his search for answers.
At one point, the plot made me think of Hitchcock, and I wondered what the great auteur would have done with this script. No doubt, it would have been tremendous, but director Curtis Bernhardt turns in a captivating and entertaining film that catches the eye with its dramatic photography.
This film is also a romance, but it should be noted that Steven Kenet is not the nicest guy. That is another characteristic that puts this film in the noir genre.
High Potential (2024)
Very Enjoyable
This series revolves around Morgan (Kaitlin Olson), a woman who is the night janitor at LAPD. When she happens to look at a case file, it intrigues her, and she makes some corrections on a murder board. This leads to the realization by the department that she has a talent for perceiving, assimilating and organizing facts, aka evidence. They hire her as a consultant.
Consider her Will Hunting meets Adrian Monk. Like Will, she has an exceptional IQ and an insightful mind. Like Monk, she is bothered by OCD, although not as neurotically as Monk. But she feels that she must reconcile any data that is contradictory (like an itch that needs scratching). She is also very assertive. And though Morgan sometimes feels on the outside of society, she is very empathetic.
I really enjoy this series, though there have been plenty of other police procedurals that have a civilian with unusual talents working with cops. The character of Morgan is fun to watch. And the cases feature interesting solutions.
She also has three children, so she must always balance her work and home lives. The kids are also interesting. In the first episode, her young son actually helps with her case, behind the scenes.
Match Game 73 (1973)
Still Entertaining After All These Years
This popular game show is one of the few I watch in reruns. Host Gene Rayburn had a corny sense of humor that was, nonetheless, conducive to a wild, freewheeling tone. When the celebrity panelists tried to match the contestants, innuendo was the order of the day, bending the network's rules of propriety.
Some of the panelists were regulars, like Brett Somers, Charles Nelson Reilly, and Richard Dawson. Their interplay was usually funny, though Dawson became a drag in later seasons. Some of my favorites among the guest panelists were Betty White, Nipsey Russell, Elaine Joyce, and Orson Bean. One panelist who always ruined the show for me was Kaye Stevens, whose maniacal laugh was over-the-top and annoying.
The writers for the show provided some funny questions, allowing the celebs to invent funny punch lines.
Contrary to the views of some other reviewers, I enjoyed the later shows where they used the big wheel. It meant activity with a greater variety of stars.
Armored Car Robbery (1950)
The Unvirtuous Virtuoso Versus The Intrepid Inspector
Director Richard Fleischer gives us an efficient noir crime film that is wonderfully filmed. This might be a B film, but it is filled with grade A performances and interesting action.
William Talman plays the part of criminal mastermind Dave Purvis. He assembles a team for an armored car heist, and gives them a blueprint for the robbery. Talman's character is the highlight of the film; Purvis eliminates nearly all risk of failure and doesn't tolerate loose ends. He even cuts the labels from his shirts.
One of his recruits is married to Yvonne LeDoux (Adele Jergens), a stripper drawn to Purvis ("You should see her in her workin' clothes"). There is no honor among thieves, and Purvis demonstrates that at every turn.
Square-jawed Charles McGraw plays police Lt. Jim Cordell, who is on their trail. His unflagging dedication to the case makes him a solid adversary for the brainy Purvis.
A meaty script and meaty performances makes this an enjoyable watch. And the cinematography certainly does not hurt.
Deck the Hallmark: Curious Caterer: Foiled Plans (Hallmark Mystery - 2024) (2024)
It Was A Dark And Snowy Night
This Hallmark whodunit celebrates a traditional of police procedural, where the crime takes place within a confined space and a detective must cordon off the premises and interview everyone. In this case, it is the host who is murdered at a medieval party fundraiser.
The castle premises are isolated because the participants are snowed in. The police are present as off-duty celebrants. And there is no shortage of motives due to the host's brusque and unlikable personality.
Leads and red herrings abound as the lead detective (who is on a date) and his associates question everyone. I enjoyed the characters and the homage to a standard crime story form.
Yi yi (2000)
Looking Inward
The story of a Taiwanese family and their interactions with friends, neighbors, and coworkers, "Yi Yi" follows members of the Jian family as their lives are impacted by milestone events and the daily dramas of living. Writer and director Edward Yang gives the viewer a leisurely-paced view of unfolding hours and days, as the father deals with office politics and past regrets, the wife comes to grips with her dissatisfaction with life, the daughter deals with burgeoning feelings and family dynamics, and the young son copes with bullying while philosophizing about the limitations of one's perspective.
Life is viewed as simple and complex at the same time. It is difficult for individuals to step outside of their lives to view their lives with a macro lens. Director Yang often shoots from a distance, taking the viewer outside of the action where the intervening distance allows for more objectivity, reminding us how focused we can be on the minutiae and the moments of life. I am not sure the film stresses any particular viewpoints, just allowing the action to play out and the characters to react. It does, however, assert some truths, like the significance of family and the importance of seeking happiness.
Westworld (1973)
Part Of A Significant Trope
Written and directed (!) by Michael Crichton, this sci-fi fantasy is a wonderful leap of imagination. It involves a futuristic amusement park called Delos, where adults can indulge their fantasies without the constrictions of morality or social conventions.
Peter Martin (Richard Benjamin) and John Blane (James Brolin) travel to Western World--one of the three venues in the park---to vacation in an immersive experience that looks like the American West in the late 19th century. The "town" is populated by robots and other vacationers, all living out the cinematic version of the wild west, with cowboys, gunslingers, and dance hall girls. Everything is a production controlled by technicians behind the scenes, and all risks are mitigated by fool-proof safety measures. You can have a shootout with a gunfighter and live to tell the tale. This is a Disneyland for adults.
The "villain" of the film is a nameless robot (Yul Brynner) who becomes a problem. Brynner is wonderful in his part, driving the main story. The concept of a relentless, evil force that cannot be stopped has become part of our cinematic culture. This film was predated by Spielberg's "Duel" (1971), "2001: A Space Odyssey" (1968), and even "Cape Fear" (1962), all of which played with that trope. Others to follow would be "Alien" (1979), "The Terminator" (1984), their sequels, and numerous zombie films. "Westworld", though dated because of its anticipation of real-world technologies, does a good job of engaging viewers' fascinations and fears.
The "Westworld" series (2016) modernizes the story and expands it; it is a superior production.
Das Leben der Anderen (2006)
It Touches The Heart
This is a heartbreaking story of life in a police state. Told with authenticity and artfulness, "The Lives of Others" is about artists who are kept under constant surveillance by those who seek to control every aspect of life behind the iron curtain. It also addresses the corruption that pervades a system where a few control the lives of others, and how it attracts those who find personal pleasure in power and sadism.
Sebastian Koch plays the role of writer Georg Dreyman, who is involved with an actress, Christa-Maria Sieland (Martina Gedeck). Within the constraints of his well-regulated life, he tries to live a rewarding life, which means loving and expressing himself freely. He believes he has achieved a semblance of freedom, surrounding himself with like-minded friends and his girlfriend.
The other central character is Hauptmann Gerd Wiesler, played by Ulrich Muhe. Weisler is a cog in the state machinery, who eavesdrops through microphones placed in the homes of artists and others who must be controlled. His pragmatic dedication to the cause develops cracks when he finds himself becoming interested in the lives of some he monitors daily. In a state where artistic messages are controlled, he finds real drama and emotional connection in the lives of Georg and Christa-Maria, and his humanity is resurrected.
One can argue against political systems that sacrifice the freedoms of individuals to the state, but art has a way of delivering that message very effectively. This film is a good example of that. Its story is well-written and the actors deliver nuanced performances. It takes the viewer on an emotional journey to the dystopia of East Berlin that might fall into the horror genre if it were not fact-based.
Master Minds (2020)
Beauty, The Beast, And A Bevy Of Brains
This fast paced trivia contest is one of the best in this genre. Hosted by the beautiful and talented Brooke Burns, the show has three contestants vie against each other while three trivia experts simultaneously compete against each other.
The two highest scoring contestants face off to determine who wins $1,000 and the chance to play against the highest scoring expert. The final competition pits the contestant against the expert for $10,000.
One thing that makes this so watchable is the way they switch up the game play each round. Also, the questions are both challenging and interesting.
The experts are unquestioningly among the best. Any contestant who wins the $10,000 has accomplished something noteworthy.
The Trouble with Bliss (2011)
Less Is More, But Morris Bliss
I confess that I disliked the beginning of this film, but as it progressed I bought into its odd narrative about a thirty-five-year-old New York City man who appears to be a loser.
Morris Bliss (Michael C. Hall) lives in his father's (Peter Fonda) apartment and has no job prospects. It appears that his life is on hold. He seems to have no convictions. And he is seeing an eighteen-year-old high school student.
During a week filled with coincidences and strange happenings, Morris gradually gains agency and makes decisions. He may finally be on the path to responsible adulthood.
Brie Larson plays the quirky high school student, Stephanie, who is unpredictable and challenging. Because Morris exudes little energy, it is Stephanie who moves the plot. But there are other strange friends and acquaintances who interact with Morris, like fellow tenant Andrea (Lucy Liu) whose intentions are unclear. And Steven "Axe" Jouseski (Brad William Henke), who still revels in the "glory" of their wild high school days.
The film definitely has a sense of humor, which emerges more in the second half. I found myself being drawn into the quirky universe of Bliss. It is not a world of big laughs, but droll absurdity and irony.
Beyond the Blackboard (2011)
A Pocket Full Of Valentines
Films about education and the stories of extraordinary teachers is a genre I really enjoy. I have seen many such films, some of them based on true stories, like this one. "Beyond the Blackboard" contains many touching moments, and it is a reminder that it may "take a village", but special things can be accomplished by special people.
This film demonstrates that good writing, good direction, and good acting are a winning combination. Emily VanCamp is perfect as the neophyte teacher, Stacey Bess, who naively walks into a horrible situation, but fights through it. The rest of the cast is solid, anchored by the child actors who make up Stacey's class; they make it so easy to cheer for their characters and to ache for them in their situations.
Have some tissues nearby.
Take the Lead (2006)
Some Wonderful Moments
Inspired by a true story, "Take the Lead" is the story of Pierre Dulaine (Antonio Banderas), a ballroom dance instructor who sees an opportunity to make a difference in the lives of inner city New York high school students who are considered rejects.
Other films have similar stories, and some of them are exceptional. The two that come to mind most when watching "Take the Lead" are "To Sir With Love" and "Stand and Deliver", which was also based on a true story.
Banderas is strong in a difficult role. The group of younger actors who play the students is wonderful. Alfre Woodard is memorable as the principal of the school, who still maintains a shred of hope even with the formidable odds against her.
The dancing itself is adequate. The music is varied. But the primary actors are what make this film so enjoyable.
(500) Days of Summer (2009)
"What Are We Doing?"
This story follows a relationship between Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel), which begins on the first day she joins the greeting card firm where Tom works. That is Day 1. He falls for her quickly. She likes him, but does not believe in love. As they get closer, things get more confusing for him.
This film is told from Tom's view. We meet his friends and his sister, Rachel ( Chloe Grace Moretz), all of whom give him advice along the way. The narrative is not chronological, making connections between events that happen on non-contiguous days.
Though the story is told through Tom's eyes, the tone of the film is dictated by Summer's personality. She is quirky and low-key. Perhaps if another actress had played the role (say, Mila Kunis), the film would have a different energy.
Also influencing the energy are the pop songs interspersed. And the script includes moments of fantasy---like montages, daydreams, and fictional film clips---that provide clues to Tom's frame of mind.
In the end, this is a film about love and fate. Some viewers may find it hopeful, while others may consider it discouraging.
The Benny Goodman Story (1956)
A Swing Showpiece
Benny Goodman is my favorite musician from the big band era. It is a real pleasure to see the erudite-but-hip Steve Allen portray the prodigiously talented jazzman in this film.
Goodman himself provides the clarinet tracks that Allen mimes. And if you like swing music, this film has it, as well as some of the other greats of the genre, portraying themselves---like Gene Krupa, Stan Getz, Lionel Hampton, and Harry James.
Though the story is heavily fictionalized, it does a good job of capturing the energy of a revolution in musical style.
Also, Donna Reed is charming as Goodman's wife, Alice.
13 Going on 30 (2004)
Jennifer Garner Delivers A Delightful Performance
We have seen numerous films about someone trapped in the body of someone a different age. Usually, there is a metaphysical reason for the phenomenon, and this film sticks to that trope.
Here, Jennifer Garner plays the part of Jenna Rink, a girl who has just reached her thirteenth birthday, when she is mystically transported into the thirty-year-old body of her future self. What makes this film a standout is the effectiveness of Garner's portrayal. She imbues her 30-year-old character with the youthful exuberance and innocence of a thirteen-year-old so believably.
She doesn't just gain 17 years, she moves forward in time. This places her anachronistically at a point in time where she is ignorant of the culture and its technologies. And she is a girl in a woman's body, trying to cope with a job and all the circumstances of her older life.
Near the end of the film, there is a great plot twist that introduces conflict to the narrative and helps determine the course of her life. It's a nice story, but it is Garner's performance that makes this a film to watch.
United 93 (2006)
A Story of 9-11
Last week I visited the Fight 93 Memorial near Shanksville, Pennsylvania. It is appropriately solemn and informative, though I was already fairly familiar with the particulars of the flight.
This film, with the approval of many family members of the flight's victims, does a good job of taking you inside the events of that day, including the moment-to-moment activities of air traffic control and the U. S. military. There is more the film makers could have included, but the film captures the confusion, the tragedy, and the bravery of that day. Even though you know what is going to happen, it grabs you with suspense.
No one living knows the full particulars of what happened aboard Flight 93, so some dramatization is necessary. Still, it conforms with known facts, and presents an unbiased story, which is appreciated.
Room for One More (1952)
Watch For The Few Touching Moments
Cary Grant stars with his wife, Betsy Drake, in this light comedy about a family that thrives on chaos even as it expands to include homeless animals and unwanted children. Drake plays wife Anna Rose, whose heart is bigger than the family budget---a woman who cannot say "no" to any being needing love. She often surprises her husband with the newest addition to the family. They agree to foster a teen with a horrible history who is rough around the edges, and a polio-stricken boy with a terrible demeanor.
Expect few surprises, and much of the humor is quite corny, but there are some genuinely touching moments. The biggest problem with the script is that George "Poppy" Rose (Grant) constantly cracks jokes but wifey Ann has virtually no sense of humor. Also, she makes some decisions that are, when rationally analyzed, dangerous or unjudicious.
This is not one of Grant's best films; he has so many that are truly worth watching.
Lucky 13 (2024)
Moderately interesting
In this quiz show, contestants are shown thirteen statements and they must answer if they are true or false. Then they guess how many of their answers are correct. If the number of correct answers falls within a range they select, they win. If they hit the exact number they predicted, they win even more. The top prize is $1 million, but that requires correct answers to all thirteen questions.
The hosts are Gina Rodriquez and Shaquille O'Neal. It is an unusual pairing, but they keep things light.
The difficulty of the questions seems about right: not too easy or too hard. But the goal is to predict the number of your correct answers. It should be pointed out that correctly answering 7-9 questions is about the same as randomly answering 13 true/false questions. Receiving $25,000 for that unexceptional accomplishment is not a bad payday.
Listening to some contestants verbalize how they arrive at their answers can be unintentionally humorous. That should not be a surprise if you have watched some Youtube videos where they ask people on the street questions about history or other subjects.
Interestingly enough, guessing the correct range is harder when the questions are true/false. For example, if asked the number of dimples on a golf ball, one could make an intentionally bad guess, say one million, and thereby make the results more predictable, but in a true/false scenario there is more unpredictability. If, for example, the statement is "golf balls have exactly 250 dimples", neither "true" nor "false" is so obviously wrong.
This show does not have the pace or the level of interest that games like "Jeopardy!" can provide, but it has some appeal, and one can learn some things from watching.
My Favorite Wife (1940)
A Successful Reteaming
One of the great screwball comedies is "The Awful Truth". Here, Cary Grant and Irene Dunne are reteamed for another enjoyable comedy with a strange premise.
Nick (Grant) must have his deceased wife proclaimed legally dead before he can wed his fiancée (Gail Patrick), so they go to court for both procedures. Just as they are off to Yosemite for a honeymoon stay, Ellen (Dunne), the missing wife, returns to reclaim her life.
So, the strange romantic triangle must be resolved, but it won't be easy. Thanks to Donald MacBride, who plays a confused hotel clerk at Yosemite, the hotel scenes are some of the funniest.
Randolph Scott is perfect as the hunky health nut who shared an island with Ellen during the seven years of her absence.
There are two aspects of "My Favorite Wife" that are very reminiscent of "The Awful Truth": in both, Dunne pretends to be someone she isn't to hilarious effect, and both films have scenes where the two main characters are in separate bedrooms.
For my money, Dunne steals the film, but both of the leads convincingly portray spouses who know each other intimately.
While watching, note the eye-catching fashions that Ms. Dunne sports.
Father Goose (1964)
Grant Plays Against Type
This is an interesting film. First of all, it combines comedy with adventure and romance. Secondly, Cary Grant plays a role that is a departure from what he usually does.
Here, he plays the part of Walter, a loner who has escaped all conventional life to live in the Pacific. When British forces prepare to abandon an island to the Japanese, a clever harbor master ropes Walter into joining the Coast Watching Service, a group of thirty-two who will remain among the hundreds of islands to spot and report the movements of Japanese aircraft. After he establishes his post on the island of Matalava, he runs into a stranded French woman named Catherine (Leslie Caron) who has custody of seven girls who were attending a school for the children of consular employees.
They have to share a small space and few resources, which leads to conflict. And some laughs.
The exteriors were shot at Ocho Rios, Jamaica. Too bad they didn't include shots of the wonderful falls there, which are very picturesque.
Grant and Caron work well together, but I must admit it would have been interesting to see Audrey Hepburn in the role of Catherine. The romantic aspects of the film are brief and more chaste than a nursery rhyme. This is no "Swept Away". But it works fairly well.