Showing posts with label julia ormond. Show all posts
Showing posts with label julia ormond. Show all posts

Monday, August 15, 2011

Kit Kittredge: An American Girl (2008) Review

Kit Kittredge: An American Girl (2008)
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"Kit Kittredge: An American Girl" is certainly heartwarming and innocent, but that doesn't mean it's shallow and cloying. I admit that I thought it would be, mostly because I was expecting a virtual clone of last year's awful "Nancy Drew." There are certain similarities: both feature plucky young girls who do a lot of investigating; both have an assortment of colorful side characters; both are based on a series of stories, both feature Max Theroit. Unlike "Nancy Drew," however, "Kit Kittredge" aims to tell a good story with real subtexts; taking place at the height of the Great Depression, we meet characters that are downtrodden and desperate, not only because their financial situations are bleak, but also because they face the scorn and rejection of ignorant people. This adaptation of stories drawn from the "American Girl" doll line mixes childish zeal with some very mature themes, and that alone made it worth seeing.
Abigail Breslin brings enthusiasm, charm, and heart to the title character, a ten-year-old girl from Cincinnati, Ohio who runs a tree house club and dreams of becoming a newspaper reporter. She wants to write stories with fresh angles so that she can finally get into print. A pair of hobos--a helpful teenager named Will (Max Theroit) and his young friend, Countee (Willow Smith)--inspire Kit to write an article on hobo life. The fresh angle is that it will be told entirely from a kid's perspective, which may be needed in this case since many adults feel hobos are good-for-nothing leeches that suck the government dry. Kit has heard this rhetoric from her neighbors and classmates--one especially snotty young boy says that selling eggs and wearing dresses made of chicken feed bags bring you one step closer to the poorhouse.
But Kit is beginning to understand the hobos' plight, not only because many of her neighbors have lost their homes to foreclosures, but also because her unemployed father (Chris O'Donnell) is forced to find work all the way in Chicago. Hoping to make ends meet, Kit's mother (Julia Ormond) turns their home into a boarding house. This is how we meet: Ms. Dooley (Jane Krakowski), a husband-seeking dance instructor; the disapproving Mrs. Howard (Glenne Headly) and her young son, Sterling (Zach Mills); Ms. Bond (Joan Cusack), a slightly goofball mobile librarian; and Jefferson Burke (Stanley Tucci), a magician. When the subject of hobo robberies comes up, Mrs. Kittredge has everyone put their valuables in her lockbox. When it's stolen, everyone suspects Will as the culprit, including the police. Kit takes it upon herself to investigate. Despite what the evidence suggests, she believes her hobo friend is innocent.
It fairly obvious that "Kit Kittredge" is a commentary on prejudice; at one point in the film, Kit tells a cantankerous newspaper editor (Wallace Shawn) that there are good hobos and there are bad hobos, much like good apples and bad apples. She then gets a hard lesson in office politics when it's revealed that newspapers print only what the public wants to read, and the unfortunate truth is that the public is intolerant of hobos. Naturally, those who say this haven't met the people living in a hobo jungle, as Kit has; they're some of the nicest people around, and they willingly let Kit photograph them and write about them for her article. Messages of acceptance and understanding are not new, certainly not for a family film. But unlike a lot of other such stories, "Kit Kittredge" doesn't condescend, and when we leave, we feel both entertained and emotionally rejuvenated.
Aside from Kit, one of the film's best characters is Sterling, who at such a young age has already been beaten down by life. Sterling's father, much like Kit's, also left Cincinnati to find work, and communication with his family has steadily decreased. You see nothing but hurt and sadness in this boy's eyes. He and Kit are practically in the same boat, which is why they form a special bond. Kit is now worried that her father will forget her and her mother completely, even after promising to write them every single week. I remember a scene when Kit types a letter to her father; the frustration and fear she pours into the first draft makes for a heartbreaking moment.
I can't guarantee that adults will be as receptive to "Kit Kittredge: An American Girl" as kids will, but I definitely recommend they give it a chance. The doll may be a hollow piece of plastic, but the character is something else entirely--she's kind, spirited, intelligent, and just plain wonderful. Some may criticize the film for being too sentimental, and indeed, it's light-hearted and optimistic, more than would be expected from a story set during the Depression. But it's more mature than it lets on. Even with a childish sense of humor, hopelessness and grief are not spared on the audience. It's always a pleasure to see a family film that was made with all audiences in mind, not just kids. "Kit Kittredge" is such a film, one of the most enjoyable I've seen all summer.

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The Great Depression hits home for nine-year-old Kit Kittredge when her dad loses his business and leaves to find work. Oscar nominee* Abigail Breslin stars as Kit, leading a splendid cast in the first-ever American Girl theatrical movie. In order to keep their home, Kit and her mother must take in boarders paying houseguests who turn out to be full of fascinating stories. When mothers lockbox containing all their money is stolen, Kits new hobo friend Will is the prime suspect. Kit refuses to believe that Will would steal, and her efforts to sniff out the real news get her and her friends into big trouble. The police say the robbery was an inside job, committed by someone they knew. So if it wasnt Will, then who did it?

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Saturday, April 2, 2011

Sabrina (1995) Review

Sabrina (1995)
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I was surprised at how good this movie is. A remake of a movie starring Audrey Hepburn, Humphrey Bogart and William Holden, directed by one of the greats of American cinema, Billy Wilder, is not exactly the kind of task for the faint of heart. The fact that Sydney Pollack (They Shoot Horses Don't They? (1969), Tootsie (1982), Out of Africa (1985), etc.) decided to do it must have raised a few eyebrows in Hollywood land.
And let's just say I had preconceptions as I sat down to watch this. No way could this be anything near as good as the original. And for the first twenty minutes or so I was not dissuaded. Julia Ormond, who was given Miss Hepburn's title role, seemed nothing far removed from ordinary; and Greg Kinnear, who played the playboy David Larrabee, seemed a poor imitation of William Holden. Of course Harrison Ford, I told myself, is another story, since he is the embodiment of the fulfillment of the desire of many woman, and a fine, accomplished leading man. He would be, I suspected, the lone bright spot. In the original, Humphrey Bogart, a little past his prime, and in not exactly the best of moods, and not entirely pleased with the relatively inexperienced Audrey Hepburn, played the cool tycoon Linus Larrabee with some distracted forbearance in what many consider one of his lesser performances. Surely Harrison Ford could improve on that.
He did, but what really surprised me was just how diabolically clever the oh, so romantic script by Barbara Benedek and David Rayfiel turned out to be. I mean, Cinderella move over. Sabrina could not have achieved a more glorious existence had she died and gone to heaven. It is hard to imagine a more fulfilling fantasy for a chauffeur's daughter than what transpires here.
Quickly here's the premise of this celluloid fairy tale/romance: Pretty but ordinary Sabrina, born of working class parents, her father the chauffeur of the ultra rich Larrabees, grows up living above the garage in the palatial Larrabee estate. She watches the lavish parties thrown by the Larrabees from a spot in a tree and falls madly in the kind of puppy love that never goes away with the younger of the Larrabee brothers, David, who is the kind of guy who gives playboys a bad name. When she comes of age, she goes away to Paris (apparently to work for a fashion magazine: in the original Sabrina, she goes to a cooking school in Paris), picks up confidence and a new kind of eye-popping sophistication, comes back and...well, gets noticed.
The basic skeleton of this, the story from the first Sabrina (1954), which is dreamily romantic enough and then some, is greatly augmented here with some very fine psychological touches including developing Sabrina's character beyond the pretty and stylish to something bordering on the wise and heroic. Suffice it to say that we come away feeling she deserves every rainbow's end she gets. I can see Benedek and Rayfiel exclaiming with riotous joy as they are writing the script (trading e-mails perhaps): "They want romance, they want woman's fantasy? They want Sabrina to have a pot of gold and true love everlasting? How about riches beyond counting and the doting attention of the two handsome, very rich brothers? She can take her pick. We've give 'em romance, we'll give 'em dreams come true!" And they do. Not only that, but they keep us guessing about who gets the girl until the last possible moment, and they do that very cleverly.
Of course it helps to have professional direction by Sydney Pollack and a fine cast including Harrison Ford--at his best, by the way--and Julia Ormond, a hard-working and talented actress (I recall her from Smilla's Sense of Snow, 1997), who knows how to be cute without fawning, supported by Greg Kinnear, Nancy Marchand, John Wood and Angie Dickinson. I mention Miss Dickinson because, as the mother of a perspective bride about to throw an incredibly lavish wedding, she gets to deliver this "let them eat cake" line: "We thought we'd use recycled paper" (for the wedding invitations).
The script is full of similar witticisms, some verbal, some like eye candy. For example, when Sabrina removes her glasses (the usual Hollywood signal for the adolescent ugly duckling to become a beautiful swan) after gaining sophistication in Paris, she quotes aptly but surprisingly from Gertrude Stein: "America is my country and Paris is my home." (Of course Gertrude Stein never heard of Paris, Texas--but that is another film, and besides, I digress...)
I also liked it when Sabrina is in the arms of her Paris would-be lover who kisses her, and--noticing that she is not as engaged as she might me-observes with perfect decorum, "I'm embarrassed that you're somewhere else."
Memorable was the shot of Harrison Ford momentarily looking jealous and hurt. By the way, he has a number of good lines, and he delivers them well. I especially liked it when he sadly confessed: "I was sent to deal with you. I sent myself."
It is probably better if you haven't seen the original and can experience this on its own merits without the odiousness that sometimes comes with comparisons. Comparing Audrey Hepburn with Julia Ormond is like comparing Grace Kelly with Jennifer Lopez. They really are very different people. And comparing Billy Wilder's 1954 film (from the play by Samuel Taylor) is a little like comparing Lon Chaney's Phantom of the Opera with Andrew Lloyd Webber's.
Bottom line: see this for both Harrison Ford who wears the business-first character of the "only surviving heart donor" very well, and for Julia Ormond whose intense and beguiling performance makes us forgive her for not being Audrey Hepburn.

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Remake of the 1954 film about a modern-day Cinderella who is the daughter of a wealthy family's chauffeur. When she is transformed into a graceful woman, she captures the attention of the sons of the family.Genre: Feature Film-ComedyRating: PGRelease Date: 29-DEC-2004Media Type: DVD

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