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Source:
rec.art.movies.reviews newsgroup
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As an actor Robert Redford is just not my cup of tea. He generally plays someone handsome and callow and perhaps less than a deep thinker. When a film calls for someone to be handsome and callow and less than a great thinker, he can be good in a role. I certainly cannot fault him for his contributions to films such as THE CANDIDATE and THE NATURAL. But Robert Redford the director is another animal entirely. His ORDINARY PEOPLE was neither ordinary nor empty, but a quiet and powerful study of a family that was no longer functioning as a family. THE MILAGRO BEANFIELD WAR was another film of keenly observed personalities. But this time he had a whimsical feel and a spell of magical realism. In his third film the craftsmanship is greater than ever but the people are much more reserved and the film lacks impact. It is hard to feel much for a family that believes so strongly that the best thing in life is fly fishing.
In Missoula, Montana, of the 1920s the Reverend Maclean is a dry, stern Presbyterian minister of Scottish descent. He leaves it to be assumed that behind his formal crustiness he may even have strong feelings for his children. He expresses emotion for only dry fly fishing and believes there is no clean line between religion and fly fishing. His two sons grow up loving each other and in subtle competition. The older, Norman (played by Joseph Gordon-Levitt and later Craig Sheffer), is bookish and tentative, while the younger, Paul (played by Van Gravage and later Brad Pitt). is handsome, self-assured, and adventuresome. As they grow older, Norman is reserved and religious, while Paul is more inclined to walking on the wild side. Most of the story is set in one summer when Norman returns to Montana after graduating college. The story is generally episodic, relating the relationship of the boys over that summer.
Redford's direction and Philippe Rousselot's camera capture the beauty of Montana but then fails to make the people upstage the scenery. At least this is the all-too-familiar story of the righteous son and the son tempted by women and strong drink. The message is too much like what is real and good and true in life is getting out into nature and killing fish. When it was all over, the characters I was rooting for all had gills. In spite of the polish, I give this film only a 0 on the -4 to +4 scale, but that may be only that I did not connect with the characters.
By : Mark R. Leeper
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Source:
rec.art.movies.reviews newsgroup
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Robert Redford's A River Runs Through It is not a film I watch often. It is a masterpiece -- one of the better films of recent years. Until 1994, it was my second favorite film of all time. The acting and direction is top-notch -- never sappy, always touching. A friend of mine once reported that he avoided it because "I was afraid it would just be really politically correct, and tick me off." All I could do was tell him to go in unbiased, and enjoy. It is one of the few movies that has completely reduced me to tears. But certain memories should not often be rereleased -- in the last few shots, you have to cry. Upon my first viewing I left bawling. It is not flawless -- but it is so very good, that you can't help but be effected. The opening is dangerously nolstalgic and sentimental -- watching these shots of people who have been dead so long, gives you a feeling of perspective and history observation that you will find in very few other films. Martin Scorsese once described the movies as a dream state -- like taking dope, and immersing yourself in an alternative world. That is what A River Runs Through It does. It exploits the unique power of cinema to engross you and help to forget your real self. Both times I've seen it, its been hard (again to quote Scorsese) waking up. But the dream is lovely.
By : Max Scheinin
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