Reviews (17)

An American Classic
For my money, this "save the farm" feature was the best film of 1984, edging out The Killing Fields, The Terminator and Stop Making Sense. Nominated for seven Academy Awards (including Best Picture), this box office sleeper earned two statues: Best Actress for Sally Field and Best Original Screenplay for Robert Benton (who also directed). Still, how Nestor Almendros' gorgeous cinematography failed to score even a nomination remains a mystery.

Alot of Heart
Places In The Heart is director Robert Benton's look back at life in Depression era Texas. Sally Field stars as Edna Spalding, a recent widow who struggles and fights to keep her family together by raising cotton. She enlists the help of a drifter named Mose who knows the in and outs of growing cotton. One hurdle is that Mose is black and the locals make it rough on them. Danny Glover is superb as Mose as is John Malkovich as a blind boarder, Mr. Will. Lindsay Crouse and Ed Harris are Edna's sister and brother-in-law and Ms. Crouse is excellent as she struggles with the philandering ways of her husband. But through it all, Ms. Field carries the film. She perfectly conveys the determination of a woman facing tremendous odds. she shows a strong front, but a touching vulnerability when facing set back after set back. Ms. Field deservedly won her second Best Actress award and yes we really do like her.

"Places in the Heart" Wins Hearts All Over Again
Now that "Places in the Heart" has been re-released on VHS and DVD, many more people will be able to experience this 1984 classic. Starring some of the acting greats like Sally Field, John Malkovich, Ed Harris, and Danny Glover, "Places in the Heart" is a realistic look at the lives and views of people in the 1930s. This movie tackles issues such as racism, adultery, and people learning to "live again" after they've had to overcome many obstacles.

Edna Spalding (Sally Field) plays a woman recently widowed who suddenly has to figure out how to support herself and two children during Depression times. Moze (Danny Glover), a black man looking for room and board, offers the "crazy" suggestion of growing cotton and, desperate to try anything to keep her family together, Spalding steps up to the challenge. More important than Spalding's need for money, she must prove to herself and those around her that she can take care of her family. She had always just been a wife and a mother and nothing more had previously been asked of her. A blind boarder, Mr. Will (John Malkovich), "sees" the harshness and bigotries of life and is a quiet yet interesting observer of what's going on around him. Also added to this mix are Spalding's brother-in-law Wayne (Ed Harris) and sister Margaret (Lindsay Crouse) who go through marital struggles when Wayne becomes involved with another woman (Amy Madigan). They fight the basic human problem of being good people but making bad decisions.

Field's performance as Spalding is a great one--evidenced by her Best Actress Oscar for the role. Another Oscar was rewarded for Best Overall Screenplay and nominations were made for Best Picture, Best Director, Best Supporting Actor (Malkovich), Best Supporting Actress (Crouse), and Best Costume Design. Though "Places in the Heart" is often overlooked, it's a wonderful film overflowing with love, bravery, friendship, and strength of character.

OF LOSS, LOVE AND HOPE
Few movies hit you so unabashedly in the heart with a melodramatic wallop as Benton’s Places in the Heart, yet manage to avoid feeling cheap. A deeply touching slice of the depression era, worthy of all the Oscars it bagged (screenplay, best actress for Fields) plus several nominations.

Sally Field weilds absolute acting prowess as Edna Spaulding, a wife and mother of two kids who becomes widowed after a drunk accidentally shoots her husband. So she decides to make some money by planting cotton. She takes in a very friendly black man (wonderfully played by Danny Glover) who helps her get and plant the cotton, and a smart blind man (played by John Malkovich in an Oscar-nominated performance) who's a paying boarder.

These three adults and the two children form a little family together, and this is the part of "Places in the Heart" that works best.

Other characters add to the story. Lindsey Crouse was also Oscar-nominated for her portrayl of Field's sister who comes to help out after tragedy strikes early on. Ed Harris plays Crouse's husband who's having an affair with another woman, which makes for a somewhat inessential subplot. But that's a minor grouse.

Apart from the top-notch performances, the film's stunning finale is an unforgettable cinematic statement about hope. Had everyone in the room jerking a tear.

On DVD the film doesn't really look like an old movie (1984) if that bothers you. A highly recommended gem for any collection!

I WISH THERE WERE A SEQUEL!
This movie is great! I used it for a college paper on prejudice and the hardships of life. You can really feel what these people are going through. I wish there were a sequel about 10 years later, where Moses comes back with a family and buys a piece of Edna's land. I wish he could really overcome being black during a miserable time in history. I wish Will and Edna would fall in love and help complete the missing part of each other's lives. Possum would be a teen, with high hopes and great dreams. Frank would be a strong, honest man that is a representation of the type of person it takes to change an entire country's idea about prejudice. They would become happy once again. I want their lives to finally be worth something. I WANT MORE OF THEIR STORY! ... Read more

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"Worn to perfection" is the tag line promoting this crafted character study. It describes Paul Newman, the resourceful 70-year-old lead actor, but not his character, Sully, a North Bath, New York, loner who totally emulates the negative definition of the title. Newman gives a brilliant performance (Oscar-nominated and winner of two critics circle awards) relying on his well-honed subtleties. The dramatics are simple: the return of his son (Dylan Walsh) and grandson, offering a chance to reconcile; odd jobs for a construction company he's trying to sue for an injury; and a comedic grudge match against the owner (a reserved Bruce Willis). North Bath is the kind of place, wrapped in winter (beautifully shot by John Bailey), where enemies are friends, marriages are shaky, and Hawaii is only a state of mind. This "town drama" of a blue-collar America offers the patient filmgoer a rich and rewarding experience. Another small gem from writer-director Robert Benton (Places in the Heart). --Doug Thomas ... Read more

Reviews (34)

Paul Newman is a national treasure
This is a lovely, dense movie about a deceptively simple man and his deceptively simple life. Paul Newman makes it look so easy and makes everyone else include Bruce Willis, Melanie Griffith and a slew of character actors look wonderful. The movie is never forced and the pace is perfect. I lived in one of the towns in which the movie was filmed and the director captures the town perfectly. The light is even right. Watch this movie. It's funny and sweet and warm and perceptive about people and family and relationships. And Jessica Tandy never looked more graceful in this her last film.

Paul Newman can still play the everyday guy and be amazing!
Finally we are able to again appreciate the elements of effective storytelling in the movies: depth of character, simple settings, moral values, and pure entertainment. Paul Newman has always been one of the best natural actors in the business, and he shows it again here with class and maturity. He plays Sully, an older man who goes from one odd job after another to find meaning in his life. He boards with his past eighth grade teacher (Jessica Tandy, in one of her last roles) and accepts jobs from time to time from a sleazy contractor (Bruce Willis). It is only once he reunites with his son (Dylan Walsh) and his grandson that he realizes where his responsibility lies and the meaning of his life is found. Writer/director Robert Benton, who has directed Newman in other films such as "Absence of Malice," knows exactly where Paul's strengths in acting lie, and he allows him to show it off in very effective ways. Sully is not an overly emotional or vibrant character, but does have wit and grace that is totally likable and fascinating. Melanie Griffith also contributes to the stellar cast as Willis's neglected wife (Imagine that!), and she herself is touched by Sully's qualities just as we the audience are. "Nobody's Fool" is a triumph of writing and subtle genius, a masterpiece that relies on natural talent and realism of character to tell its tale, and what a rewarding tale it is!

I bore Sully's children
NONONO. Not Paul Newman, but the character he played, Sully. I cannot tell you how many people said he had nailed the charming ne'er do well, and Bruce Willis channelled his best friend, for whom he worked. His children love him, I love him, I just can't live with him anymore. This was the story of my life for many years, a man drifting from job to job, helping others before his own family, and shrugging at the consequences. Paul Newman deserved the Oscar for this performance. It is criminal he was not awarded it. He was brilliant, and this will be recognised years later as one of those losses that was probably the result of the movie not being a big box office draw. I have worn out my vhs, and am ordering the dvd. This is a must see, a must have for any intelligent connoisseur of fine cinema. It is a poignant, gentle tale, with more than a dash of humour. I should also add that I vividly remember the cold and very snowy winter this movie was made, and the news from the set because I live near where it was filmed. Normally I would not mind signing my name, but I am hesitant, since "Sully's" current girlfriend reads all of these things and she has been blaming me for not granting him a divorce. In typical Sully passive-aggressive fashion, he has treated that too with a wink.

Almost as good as the book
This movie, like the novel of the same name, shows the life of a flawed but amiable character, Donald Sullivan, over a period of a few days in a small town in Upstate New York. Rarely do I see a movie that is almost as good as the book, but here the only drawback to the movie is that it is too short. (It would probably have to be 8 hours long to tell the entire story.)

Paul Newman is perfect as Sully, Bruce Willis is astounding as a small-town builder, and Rachel Griffiths is heartwarming as Willis' wife. If you like the book, see the movie; if you like the movie, definitely read the book.

One of my favorites...
I love this movie...it is one of my all-time favorites for a variety of reasons. It features a wonderful performance by Paul Newman and a great cast of supporting characters, but the real star is the story. It's a very good reminder of the impact we have on the lives of others, even if we mostly focus on our own challenges, dreams, and daily frustrations. But whether the movie makes a poignant impression on you or not, you can still enjoy it as a fun, touching story... ... Read more

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If it hadn't been released in 1998 with a veteran cast of Hollywood's finest, you could swear that Twilight was a movie from the 1940s--the kind of intelligent mystery that would've made Humphrey Bogart feel right at home. To be sure, that was exactly the intention of director and co-writer Robert Benton (in collaboration with Nobody's Fool writer Richard Russo), but the film's blessing is also its curse. Benton and Russo are so enamored of vintage mystery plots and characters that their movie nearly succumbs to the burden of old-fashioned familiarity. As the title suggests, the movie's aging characters, led by Newman as a private eye who's almost literally on his last legs, are all on the downhill of life, their Hollywood glory days behind them. Newman's character lives in the luxury home of two fading stars (Gene Hackman, Susan Sarandon) who may or may not be connected to a murder plot that also involves one of Newman's old colleagues (James Garner). Whether they're literally in their final days (as in the case of Hackman's character) or just grasping for some comfort in their twilight years, these characters interact with the kind of worldly, intelligent dialogue that was common in the better movies of Hollywood's past. But while Twilight gives Newman yet another role to fit into like a favored old suit, the movie's so low-key that some viewers may find it hard to sit through. That's a shame, because the bombastic, frenetically paced films that dominated the 1990s may have diminished our collective capacity to appreciate the solid, character-driven movie tradition that Twilight attempts to revive. --Jeff Shannon ... Read more

Reviews (26)

Super movie, overlooked and underrated! Gene Hackman
I can't believe how much people focus on Paul Newman in this movie. Gene Hackman is great. 70 year old actors are more capable than younger actors. Susan Sarandon looks wonderful... Stockard Channing has a great chemistry with Paul Newman. This movie will take you away to a place where loyalty still means something and people care about each other. James Gardner plays his part well. I don't like to reveal too much with a mystery, the other supporting characters are good. This is a gritty, true to life mystery. Reese Witherspoon was very fortunate to have this as one of her first movies, anyone with any sense would have taken their clothes off to work with this cast! She plays the spoiled daughter well. It compares to LA Confidential in my experience...

The Fall of Twilight
Director Robert Benton (Kramer vs. Kramer, Places in the Heart) has crafted a film reminiscent of the 1940's in this complex and character driven film with an ensemble cast of screen veterens and one future star in her first adult role. The mystery is engrossing and the performances are stellar as Benton shows how age sometimes shades the black and white of right and wrong to gray.

The story revolves around former P.I. Harry Ross (Paul Newman) attempting to do a favor for Jack Ames (Gene Hackman) that leads to blackmail and murder, and may involve Jack's beautiful wife Catherine Hayward (Susan Sarandon). A twenty year old murder comes into play as well as Harry slips back into a life he left behind when the Ame's spoiled little brat Mel (Reese Witherspoon) brought him some bad luck a few years prior down in Mexico.

Newman is terrific as he reluctantly tries to fix things for everyone as the bodies pile up. It's a task that gets more difficult as he gets closer to the truth. The unspoken attraction between he and Catherine is cause for concern as well in this character driven mystery. Stockard Channing gives a nice performance as Harry's old flame Lt. Verna Hollander, and Reese Witherspoon acquits herself nicely in her first adult (she has a nude scene) film.

Benton has added some humor to this story also, giving it the feel of reality. This film was not designed for the teen driven box office of today but for the rest of us. It has some terrific performances from the entire cast and some true to life moments.

It is James Garner who truly shines though as the old pal of Harry and Jack, Raymond Hope. Garner always makes it look so natural and easy his performance sometimes gets overlooked. He is really great here and the interplay between he and Newman as they discuss growing older and the events taking place are priceless. It may seem clear what happened twenty years ago but it is the relationships that drive this story and the ones that are shattered forever when Harry finally peels away the gray to reveal the black and white.

This is a fine film that subtly shows what can happen to people who become used to having everything work out for them. As Garner's character Raymond tells Harry, "There's them, and there's us, Harry." Benton has crafted an old style film that you won't want to miss if your tired of the teen box office fare. It is a mature and thoughtful mystery and a meditation on friendship and growing older. This one is worth watching.

Not too bad...could've been better.
Just look at all that talented acting. Sarandon, Newman, Hackman and Garner kind of wasted. They had the star-power, but it was wasted with the weak plot. The film just never reached its full potential. But had some good moments and is certainly good for a one-time view. Great for the murder/mystery/thriller buffs or if your a fan of one these fine actors then its worth it. Yes, Yes, Reese Witherspoon gets all naked, this alone makes the movie worth a rent :)

If you like detective stories...
Normally, the main selling point of this movie would be an outstanding cast that includes none other than the likes of Paul Newman and Gene Hackman. However, in the case of this film, that factor is trumped by Reese Witherspoon waltzing around topless.

While I have never been a huge fan of detective stories, this one was fairly entertaining. The narration is much like the famous ones from the 1940s / 1950s era.

This was the first time I've seen James Garner surface in quite awhile. While he is pretty-much a one dimensional actor, he still possesses a decent screen-presence and keeps up with Newman and Hackman nicely.

For those viewers who would be more interested in Witherspoon, this movie is a can't miss. To my knowledge, this is the only nude scene she has ever done. It also happens within the first 5 minutes of the film, so you don't have to wait too long in anticipation.

a sleeper worth seeing
Admittedly Robert Benton's neo noir "Twilight" suffers from leaden pacing and a script that lacks any real suspense or suprise (two invaluable ingredients in the genre). It also possesses a strange similarity to Arthur Penn's excellent "Night Moves" (also starring Gene Hackman).

That said, "Twilight" proves a most effective small film that benefits from an excellent cast playing at the top of their game.

Robert Benton has always worked wonders with an ensemble cast and ,in "Twilight", he continues his excellent track record as an "actor's" director. Benton's willingness to sit back and let some of films' greatest artists work their magic makes much of the aforementioned pacing issues almost a moot point. Gene Hackman, Susan Sarandon and the always excellent and grossly underrated James Garner all turn in subtle performances here. It really is a sheer privilage and joy watching these veteran masters spin their polished craft. A young Reece Witherspoon and Liev Schriebner also turn in fine performances.

Of course at the center of "Twilight" stands the beautiful artist Paul Newman. Few actors in Hollywood history have consistently turned in as many excellent peformances. Newman proves yet again that a superb actor can transcend a less than stellar script.

This is an actor's film. Anyone craving watching a concert of well tuned instruments played by masters need to look no further. None of the performances are Oscar worthy, which makes them all the more special. Sometimes the best acting occurs when the audience cannot see the wheels spinning and the strings pulling.

Along with gorgeous cinematography, "Twilight" with its fine performances is a sleeper well worth seeing. ... Read more

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Winner of five Academy Awards including Best Picture, Actor, and Screenplay, Kramer vs. Kramer remains as powerfully moving today as it was when released in 1979, simply because its drama will remain relevant for couples of any generation. Adapted by director Robert Benton from the novel by Avery Corman, this is perhaps the finest, most evenly balanced film ever made about the failure of marriage and the tumultuous shift of parental roles. It begins when Joanna Kramer (Meryl Streep) bluntly informs her husband Ted (Dustin Hoffman) that she's leaving him, just as his advertising career is advancing and demanding most of his waking hours. Self-involvement is just one of the film's underlying themes, along with the search for identity that prompts Joanna to leave Ted with their first-grade son (Justin Henry), who now finds himself living with a workaholic parent he barely knows. Juggling his domestic challenge with professional deadlines, Ted is further pressured when his wife files for custody of their son. This legal battle forms the dramatic spine of the film, but its power is derived from Benton's flawlessly observant script and the superlative performances of his entire cast. Because Benton refuses to assign blame and deals fairly with both sides of a devastating dilemma, the film arrives at equal levels of pain, growth, and integrity under emotionally stressful circumstances. That gives virtually every scene the unmistakable ring of truth--a quality of dramatic honestly that makes Kramer vs. Kramer not merely a classic tearjerker, but one of the finest American dramas of its decade. --Jeff Shannon ... Read more

Reviews (33)

Divorce In The 70's
1979's Kramer vs. Kramer mirrored a trend that was becoming more and more prevalent in America in the 1970's, the breakup of marriages. Dustin Hoffman & Meryl Streep star as Ted & Joanna Kramer. Ted is the prototypical yuppie. His job in an advertising company is really accelerating and it is taking up most of his time from his family that also includes eight-year old Billy (Justin Henry). Ted is so involved in his career, he knows little of the day-to day routine of his own household. One day, Ted's world is shattered when Joanna leaves him and Billy in order to find herself. Ted must learn how to raise his son, juggle his work and home life and go through a divorce trial. The film is both poignant and touching as Ted & Billy bond and form a loving relationship. Mr. Hoffman is excellent as is Ms. Streep and Jane Alexander gives a strong turn as the Kramer's woman's libber neighbor who Ted feels egged Joanna on and caused the breakup of his marriage. But the true find is young Justin Henry. He gives one of the finest performances by a preteen in movie history. The film was much lauded and praised and come Oscar time, Mr. Hoffman finally took home the Best Actor award after several failed nominations. Ms. Streep won Best Supporting Actress, director Robert Benton took home the Best Director award and the film won Best Picture.

Scenes From A Divorce
Those's who are familiar with the Ingmar Bergman film "Scenes From A Marriage" might get a kick out of my heading for the movie and my think of it as nothing more than a silly pun, but think about it. "Kramer vs Kramer" does for divorce what Bergman's film did for marriage. Okay, I'll stop the jokes.

Robert Benton's "Kramer vs Kramer" is really a well made, powerful, semi-heart tugging movie. Based on a novel written by Avery Corman, Benton (who wrote the film also) takes a clos look at what happens when a couple gets a divorce when children are involved. "Kramer ect" offers us a twist. Here it is the woman (Meryl Streep) who leaves her husband (Hoffman) and now Hoffman has to raise their 6 year old son by himself. Yes, the film goes for some quirky, funny shots in the beginning, and it's done with some realism, we might expect the characters to behave this way, but then the film goes for more heart.

As much as I enjoyed this film, I do think it's odd that this won the Oscar for best picture. 1979 had some strong movies, "Apocalypse Now", "All That Jazz", and although it wasn't nominated for best picture that year, one of my favorites Woody Allen's "Manhattan". But still "Kramer vs Kramer" was nominated for 9 Oscars, and walked away with 5. Also, something I want to point it is the nominated camerawork by Nestor Almendros, who many know for his work with Francois Truffaut and Eric Rohmer.

Bottom-line: Heartfelt, powerful and sometimes realistic look at what happens during a divorce. Very good performances by Hoffman and Streep (both won Oscars) and strong directing by Benton.

Cry More vs. Cry More
MAD MAGAZINE named the movie "Cry More Vs.Cry More" for the parody of the film. KRAMER VS. KRAMER is an effective tearjerker with somewhat of an unrealistic ending. The movie is manipulative but somehow manages to be a riveting divorce drama with clearly defined characters to care about. The standout character being young Justin Henry as Billy Kramer. The other issue here is the telling of a single father's trials and tribulations of suddenly taking on the responsibilities of single handedly rearing a child. The film shows the evolution Ted Kramer (Hoffman) with the relationship of his son and the definition of being a father. The film seems to be in two parts. The first being the set up of establishing the relationship of father and son, the second part is when the mother Joanna Kramer(Streep) "finds herself" (remember that catch phrase from the 70's?), has established a career, and decides that she wants her son back. She suddenly appears out of nowhere to get her son back. This is when the movie becomes a cut-throat custody courtroom battle between the Kramer's. Actor Howard Duff is excellent as Ted Kramer's/Hoffman lawyer John Shaunessy. The other standout performance is Jane Alexander as best friend (Margaret Phelps) to both the Kramer's who suddenly finds herself torn between the two sides of the custody battle. Overall, a movie that has captured a moment of time, showing some conventional if not sugarcoated problems of a bitter divorce. The film is notched up a bit because of the casting and oustanding performances of the leads.

1 star NOT for the movie
Is there any chance the movie studio will get a clue and reduce their list price?! DVDs are cheaper now...wake up already. This DVD has been out going on 3 years now. It's time to slash and burn the prices.

Beautiful casting, beautiful acting, beautiful movie
Dustin Hoffman and Meryl Streep don't make a single mistake in this movie, and neither does Justin Henry, the kid actor who plays the child torn between two parents. Hoffman plays a workaholic dad who is stunned (when his wife abruptly leaves him) to find himself the single parent of a child he barely knows. The film is beautifully book-ended between two telling events: getting breakfast for himself and his son at the beginning, we watch Hoffman hilariously, angrily, and ineptly screw it up, while by the end father and son have a quiet dance of cooperation and guy-ness all worked out. There are so many similar pivotal moments, such as a playground accident that sends Hoffman, child in arms, racing the streets of NY to the emergency room. Hoffman finds he cannot balance the demands of parenting with the high-pressure demands of his job in the advertising industry - and he chooses parenting. Then, like multitudes of single MOMS before him, he discovers how difficult it is to make ends meet.
Meanwhile, his wife, freed of parenting responsibilities, is on her own trajectory, is 'finding herself,' and becomes financially successful. Also, she watches how husband and son are doing, spying on them from a distance, and we sense her loss and her pain - yet also her pride that Ted (husband/father) is actually coming thru for the kid.
Then comes the custody battle at the end, the wrenching scene in the elevator - and Streep's final comments to the judge. Wow. Kramer vs. Kramer won 5 Academy Awards. Filmed in 1979, it is just as relevant today as it was 25 yrs ago.
People who declare this film is one of the finest movies ever made aren't lying. ... Read more

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Fresh from his huge success with the beloved Kramer vs. Kramer, writer-director Robert Benton chose to make a 180-degree turn with this frosty thriller. Roy Scheider plays a Manhattan psychologist, Sam Rice, who is dragged into a murder investigation when one of his patients is killed. The prime suspect is played by Meryl Streep, then at the height of her stardom (the film was released within a week of Streep's triumphant Sophie's Choice in 1982). Rice understandably lets his basic instincts take over and falls for this brisk, blond mystery woman, though he can't help wondering whether she will kiss him or kill him. The movie may be chilly, but it's well executed, with all-cool style and Hitchcockian angles. Benton gets good work from an expert supporting cast, including Jessica Tandy as Rice's mother, who's also a shrink. --Robert Horton ... Read more

Reviews (8)

Intelligent, mesmerizing mystery
I saw this several years ago and noticed it was on a late movie recently. This time I was more struck by the quality of the work than the first time. It seems that almost every aspect of this film reeks with elegance and subtlety. First of all, Meryl Streep is great. This is before she became so affecting as she was wont to do in her later films. Then Roy Schneider as the psychiatrist turns in a brilliant understated performance. The villianess was incredible in her chameleon-like personality and actions. (The scene at her apartment where the camera slowly slides to reveal the mutilated detective will stay with you for a long time.)

But it is the growing relationship between Streep and Schneider that gives substance to the film. Especially endearing was the dinner at his mom's (also a psychiatrist who keeps needling him about his singlenes). But it is the eerie mansion where the story unfolds and comes to a blockbuster conclusion. There are no monsters, aliens or hauntings but few cinematic scenes have been more terrifying.

I can't conclude without praise for the magnificent score. It was brooding, melancholy and seemed to flow out of the action. This should be reissued on a DVD but so far has not made it.

A Lonely and Isolated Thriller
This intelligent thriller from writer-director Robert Benton perfectly captures the withdrawn loneliness of a man attempting to take some chances and bring color back into his life. Protecting the shy and subdued Brooke Reynolds (Meryl Streep) is the method recently divorced Manhatten psychiatrist Sam Rice (Roy Scheider) has chosen, however, and it might get him killed. This film has an icy elegance misunderstood by some critics. There are Hitchcock like touches evident here and some tense and exciting moments as well, but much more.

Like Benton's later work, "Twilight", this one was not for the teen driven box office crowd that had already begun to take over the bulk of films when this was made. Benton has made a film set in New York and yet most of the scenes have an isolated feel that mirror Sam's internal feelings after his divorce. Jessica Tandy has a good role as his psychiatrist mother who urges him to start living again then cautions him to be careful when things become dangerous.

Streep gives another terrific performance on the heels of the Oscar winning "Sophie's Choice" as the fidgety Brooke Reynolds. It seems she was having an affair with Rice's patient George who she worked for at the high class auction house Crispins. When he is murdered the police show up asking questions about the same time as Brooke does. Rice immediately and inexplicably begins covering for her though he knows she is hiding something.

There are some great and atmospheric scenes, including one late at night in New York's Central Park when no one is around which is truly tense. Those 'Hitchcokian' touches abound as Rice goes back over his sessions with George and tries to interpet his unusal and symbolic dreams which may be the key to finding his killer. It is easy to see why Rice would take so many chances as anyone over 30 has been there. Scheider's motivation is obvious as Streep gives a sweet and vulnerable shadeing to Brooke. A wonderful scene with the beautiful Brooke getting a massage mostly naked is another good reason.

There is a marvelous ending to this film and in spite of it's intentional loneliness throughout we know the next shots, if there were any, would now be filled with color and people as Rice has stepped fully out of the shadows to reclaim the ability to risk all for love. This one is much more than a thriller, though it works effectively on that level also.

Perhaps the most telling moment about the more subtle aspects of this film are revealed when Brooke gives Sam a small artifact to replace one in his office she has accidentally broken. It is a broken statue which was meant to keep the dead from being lonely.

Robert Benton always crafts an intelligent film and this is one of his best. Both Scheider and Streep work beautifully together as they make their awkward and tentative romance of two people who have turned inward for different reasons, but are slowly reaching out, utterly believeable. There is a nice score used sparingly to emphasize the romantic angle of this dark thriller not readily evident.

This is a fine film and a good one to watch late at night. It is a film with a lot to offer if you're old enough to have taken a chance or two. You need to see this one. There's more going on here than most critics thought.....

One of the few movies that still sends chills down my spine
I remember I saw this movie when I was a kid, and it gave me nightmares. Robert Benton was a genius when he directed this movie. The way he builds up the suspense in certain scenes gives you that creepy feeling. Although the ending is very quiet and somewhat contrived, it has a certain originality to it.
This is one of those movies that people have forgotten about over time,which in my book is a pure classic.

A memorable movie
I saw this movie years ago, forgot the name, and have been looking for it ever since. If you like a good old scary suspense movie with characters you care about this is for you.It is a movie that is better than the sum of it's parts and they are darned good. For once I really couldn't tell if she was bad or not, but I'm not telling!

A marvellous thriller.
Some movies lose their power the more you see them over the years, but not this one. I've seen it many times, and even though I know the ending it's still gripping every time. It's also quite eerie through-out, thanks to several very atmospheric sequences. Movies of today don't seem to know how to be scary, simply because they just don't take the time necessary to build up tension, or know how to execute it well enough. This brilliant suspense movie shows you exactly how to do it right. It also helps if you have a good cast, and the teaming of Streep and Scheider proved to be pure genius. -Now all MGM must do is letterbox it for its long awaited DVD release !. ... Read more

Reviews (17)

An American Classic
For my money, this "save the farm" feature was the best film of 1984, edging out The Killing Fields, The Terminator and Stop Making Sense. Nominated for seven Academy Awards (including Best Picture), this box office sleeper earned two statues: Best Actress for Sally Field and Best Original Screenplay for Robert Benton (who also directed). Still, how Nestor Almendros' gorgeous cinematography failed to score even a nomination remains a mystery.

Alot of Heart
Places In The Heart is director Robert Benton's look back at life in Depression era Texas. Sally Field stars as Edna Spalding, a recent widow who struggles and fights to keep her family together by raising cotton. She enlists the help of a drifter named Mose who knows the in and outs of growing cotton. One hurdle is that Mose is black and the locals make it rough on them. Danny Glover is superb as Mose as is John Malkovich as a blind boarder, Mr. Will. Lindsay Crouse and Ed Harris are Edna's sister and brother-in-law and Ms. Crouse is excellent as she struggles with the philandering ways of her husband. But through it all, Ms. Field carries the film. She perfectly conveys the determination of a woman facing tremendous odds. she shows a strong front, but a touching vulnerability when facing set back after set back. Ms. Field deservedly won her second Best Actress award and yes we really do like her.

"Places in the Heart" Wins Hearts All Over Again
Now that "Places in the Heart" has been re-released on VHS and DVD, many more people will be able to experience this 1984 classic. Starring some of the acting greats like Sally Field, John Malkovich, Ed Harris, and Danny Glover, "Places in the Heart" is a realistic look at the lives and views of people in the 1930s. This movie tackles issues such as racism, adultery, and people learning to "live again" after they've had to overcome many obstacles.

Edna Spalding (Sally Field) plays a woman recently widowed who suddenly has to figure out how to support herself and two children during Depression times. Moze (Danny Glover), a black man looking for room and board, offers the "crazy" suggestion of growing cotton and, desperate to try anything to keep her family together, Spalding steps up to the challenge. More important than Spalding's need for money, she must prove to herself and those around her that she can take care of her family. She had always just been a wife and a mother and nothing more had previously been asked of her. A blind boarder, Mr. Will (John Malkovich), "sees" the harshness and bigotries of life and is a quiet yet interesting observer of what's going on around him. Also added to this mix are Spalding's brother-in-law Wayne (Ed Harris) and sister Margaret (Lindsay Crouse) who go through marital struggles when Wayne becomes involved with another woman (Amy Madigan). They fight the basic human problem of being good people but making bad decisions.

Field's performance as Spalding is a great one--evidenced by her Best Actress Oscar for the role. Another Oscar was rewarded for Best Overall Screenplay and nominations were made for Best Picture, Best Director, Best Supporting Actor (Malkovich), Best Supporting Actress (Crouse), and Best Costume Design. Though "Places in the Heart" is often overlooked, it's a wonderful film overflowing with love, bravery, friendship, and strength of character.

OF LOSS, LOVE AND HOPE
Few movies hit you so unabashedly in the heart with a melodramatic wallop as Benton’s Places in the Heart, yet manage to avoid feeling cheap. A deeply touching slice of the depression era, worthy of all the Oscars it bagged (screenplay, best actress for Fields) plus several nominations.

Sally Field weilds absolute acting prowess as Edna Spaulding, a wife and mother of two kids who becomes widowed after a drunk accidentally shoots her husband. So she decides to make some money by planting cotton. She takes in a very friendly black man (wonderfully played by Danny Glover) who helps her get and plant the cotton, and a smart blind man (played by John Malkovich in an Oscar-nominated performance) who's a paying boarder.

These three adults and the two children form a little family together, and this is the part of "Places in the Heart" that works best.

Other characters add to the story. Lindsey Crouse was also Oscar-nominated for her portrayl of Field's sister who comes to help out after tragedy strikes early on. Ed Harris plays Crouse's husband who's having an affair with another woman, which makes for a somewhat inessential subplot. But that's a minor grouse.

Apart from the top-notch performances, the film's stunning finale is an unforgettable cinematic statement about hope. Had everyone in the room jerking a tear.

On DVD the film doesn't really look like an old movie (1984) if that bothers you. A highly recommended gem for any collection!

I WISH THERE WERE A SEQUEL!
This movie is great! I used it for a college paper on prejudice and the hardships of life. You can really feel what these people are going through. I wish there were a sequel about 10 years later, where Moses comes back with a family and buys a piece of Edna's land. I wish he could really overcome being black during a miserable time in history. I wish Will and Edna would fall in love and help complete the missing part of each other's lives. Possum would be a teen, with high hopes and great dreams. Frank would be a strong, honest man that is a representation of the type of person it takes to change an entire country's idea about prejudice. They would become happy once again. I want their lives to finally be worth something. I WANT MORE OF THEIR STORY! ... Read more

Amazon.com essential video

Writer-director Robert Benton, who examined a similar story in 1998's "Twilight," first explored the territory of the geriatric private eye in this sadly underrated 1977 delight. Art Carney stars as a nearly retired detective who suddenly finds himself caught up in two seemingly separate cases. One involves the murder of his former partner (Howard Duff); the other entangles him with a flaky post-hippie (Lily Tomlin), who wants him to find her missing cat. The two cases eventually dovetail, but the plot--which leads them to a Hollywood crime bigwig played by the affable Eugene Roche--is of less interest than the almost magical chemistry between the crotchety Carney and the wonderfully off-the-wall Tomlin. The perfect film for anyone who likes their mysteries in the Dashiell Hammett/Raymond Chandler mode. --Marshall Fine ... Read more

Reviews (3)

BETTER A "LATE SHOW" THAN A NO-SHOW
"The Late Show" (1977), Robert Benton's valentine to the 1940's detective film genre has it all: the structure, the language, the grit and noir, plus something more--humor and heart. Long overlooked and drastically under rated by 1970's reviewers, the film and especially its title seemed to dredge up images of some old B&W flick that belonged on late night TV and perhaps didn't fit the mold of being "with it" or of being retro-slick in a then-generation of the Think Young, Drink Pepsi (not Alka Seltzer) society it reflected. Yet what most critics seem to have missed about the title alone is its play on words which embraced not only the old, late night TV movie idea but also the spirit of the tribute writer/director Robert Benton presents here: the vernacular of 1940's detective speak, where "show" meant a client or a job, and, "late" meant late, as in beyond the time someone or something is expected to arrive. Thus, the slang title refers to both Ira Wells (Art Carney) and Margo Sperling (Lily Tomlin), who are thrown together, quite unexpectedly, at a crucial time--before it's really too "late" (as in "dead"). Carney brilliantly (yet so unassumingly) plays 'Ira Wells,' a set in his ways broken down old heat packing (private) detective with "a bum leg, perforated ulcer, and hearing aid," who's been living out what's left of an empty and lonely life in a rented bedroom in an older widow's home. Resigned to this seeming fate, Ira believes his best days, times, and friends are all behind him (especially at the rate people he's known are "kicking off"). Ira can see his own end, which is brought home even more forcefully when his former PI partner, Harry Regan (Howard Duff), who seemingly arrives for a long over-due visit after a bender, dies in Ira's rented bedroom bed from a gunshot to the gut (yet spilling nothing save for blood). Enter Charles Hatter (Bill Macy), a chiseler and con artist, along with a wonderfully zany and off-beat wannabe actress, Margo Sperling (Lily Tomlin). They show up with a stolen cat "case" for Ira Wells at Regan's funeral entombment--and the game of cat and mouse, or, rather, rat, is almost ready to begin--again--for Ira, who says only he's "out of the business" and never uses the word "retired." But this will not be "just another case," it will be THE case, coming in the nick--and Nora--of time to make a difference and a change possible in the lives of two people. Of course, hindrances loom immediately: old-school/generation collides with new, language usage throws up an initial barrier as does Ira's 1940's mind set about women ("dolls") and how they're supposed to act. Yet all this goes by the boards when Ira and Margo start to work the related cases of the missing cat and Regan's murder together. These two people turn out to be an unlikely team that has needed the likes of one another all along. Their differences are far outweighed by what they have in common--such things as character, dignity, regard for others, loyalty, caring, and inner strength. They complement each other which tends to bring out the best in both of them. Ira has not ever had a pal, partner, buddy, or romantic interest who wasn't simply out for himself or herself until Margo; and Margo hasn't ever met anyone quite like Ira, who inspires her, looks out for her, and not only encourages but trusts her to sleuth with him, the pro, even before he discovers she could really excel at it and is more savvy about life and things than even he expected. He becomes enough at ease with Margo. though, that when pressed, he emotionally reveals his inner most fear with her--the scene between the two at the diner, after Ira collapes and Margo wants to take him to the hospital, should have earned Art Carney an Oscar nomination alone. But will they solve the murder? Will they ever team up? "The Late Show" is as much a story of the human condition as it is a noir murder mystery to be solved. Even the bad guys like Ronnie Birdwell (Eugene Roche) and Charles Hatter (Bill Macy) have real dimension and differences--and are portrayed as likeable louses with their own problems in life. The plot is skillfully and painstakingly developed with twists and turns which cover, much as the detective films of the 1940s did, mystery, which can turn to comedy, then switch to tragic drama, and even twist to include a hint of romance. Robert Benton deserved the Oscar for this original screenplay, not simply the nomination. The only remaining question is: when will the director's cut become available on video or DVD so that audiences can discover the rather obvious chunks of missing footage from the film including (but not limited to) John Davey as 'Sgt. Dayton'?--Lenore Hutton Normal, Illinois

Another Great Detective movie!
Along with Night Moves,(and obviously Chinatown) this one of my favorite detective films from the 70s. Art Carney and Lily Tomlin are a great pair and they help make a good movie even better. Robert Benton(Bad Company, Nobondy's Fool, Twilight) has made a great film here that is at once a tribute and a commentary on Raymond Chandler-type films. Carney is great as an aging PI who is hired to find a cat and ends up embroiled in a much larger story. The dialogue here is so well done-it's very stylish-throwback dialogue if you will. I love this movie and it seems that so few people have seen it. I own it and any fan of the Maltese Falcon or the Big Sleep should too.

A forgotten gem
I can't believe no one else has reviewed this fine movie. Art Carney has never been better, even in Harry and Tonto, and Bill Macy does a fine turn as a small-time con man. Lily has some classic lines, like her description of Macy's trash Cadillac; ``This car is a toilet and you're the attendant''.

Partly a send up of private detective movies and partly a charming buddy movie (Art and Lily), this belongs in anyone's collection. And if you've never seen it . . . well, you're in for a treat indeed. ... Read more

Reviews (20)

Mixed bag or results, but interesting and good!!
My feelings are mixed about this movie. From what I have read in the professional reviews of this movie, the opinions are just as mixed. In sum, it is a movie that will hopefully give one something to think about at its surprising conclusion.

Simply put, THE HUMAN STAIN is pretty much a revampted telling of an old tale that has facinated white audience since forever and opened wounds and insulted some black audiences. But, it stands apart from all its other predecesors out of the Hollywood movie machine in a good way that makes it worth seeing in that it's lead character played by Anthony Hopkins isn't stereotypically sympathetic and has depth. Still, his manipulative, cannibalistic and criminal Hannibal Lector has more integrity than his Coleman Silk.

The great and admirable Anthony Hopkins plays an aging professor with a dark secret who is accused of a racial slur by a student. Through a series of flashbacks, his secret is gradually revealed to the audience--his being a black man passing as white-- as he tells his story to a reporter and begins an affair with a young illiterate janitor on campus, Nicole Kidman. This young woman has a few secrets of her own like a possessive and obsessive husband.

Plotwise, I think the only minor flaw in the story will be that involving Kidman's charater's problems. Only a little, they interrupt the real focus of interest of Hopkins's Silk.

Though another trite tale of the mulatto, at lease the characters are 3 diminional thanks to writing,Hopkin's, Kidman's and the supporting actors performances(e.g. Gary Sinise, Ed Harris and Wentworh Miller--the young black man who plays Hopkins in his youth, and Anna Deavere Smith whose scenes and words to her son the young Silk are not fogettable, even Oscar worthy). Coleman Silk turns his back on his family and people to enjoy all the privileges and power of having white skin. Instead of challeging prejudices, he enforces and caters to the very prejudices that deny him to be treated fairly as a black man.

At the movies conclusion one is forced to asked if anything has really changed for the better in real life. From what I have noticed in popular culture, the media and all the answer is.....

Though the majority of black Americans like the characters played by Wentworth Miller and Anna Deavere Smith are a racially and culturally mixed people regardless of the complexion of skin ,or, whether both parents are black American or one parent is white or whatever, there are still those who will run as far away from being labeled black as they can get and declare themselves as separate but equal instead of challeging old inherited ideas of bigotry. Political correctness has warped into a new mask to hide self-hatred and racism. There are versions of Coleman Silks that still exist today, both dark and fair skinned, in the black community--even other non-black communities. Society still hasn't shed all its prejudices for those it looks upon as having the wrong skin color ,or, set of parents.

MORE WEAKNESSES THAN STRENGTHS -- TOO BAD
The movie tries to tell the story of Coleman Silk, originally a poor kid from1930s East Orange who has remade himself into something else -- College Dean Silk [played by Anthony Hopkins], a brilliant classics professor. But then, a chance comment in class -- actually referring to two of his class cutting students as "spooks" (not knowing that they are African-Amrecans) opens Silk up to charges of racism, and his sudden attraction to a cleaning lady [Nicole Kidman] adds an element of class consciousness as well.

It's a complicated story, presented with lots of flash backs and flash forwards, made more complicated by a secret the film reveals fairly early on. Because what the people accusing Silk of racism don't know is that he himself is black -- and has been successfully "passing" for white, for more than half-a- century.

The movie's scripty wrestles with enormously complicated issues.
THE HUMAN STAIN succeeds, but only partially. Hopkins seems an odd casting choice at first, but he turns out to be ultimately the
right one -- is the stubborn Silk; Nicole Kidman is Faunia, the raw-boned cleaning woman he falls in love with. Robert Benton, of "Kramer vs. Kramer" directs, and novelist and sometime director Nicholas Meyer did the screenplay. One big problem is that how does a very lights sknned black kid born and rasied in New Jersey wind up with an aristocratic British accent? Hmmm?

Audiences fascinated with the issues THE HUMAN STAIN touches upon -- class and sex, race and identity -- are better off searching for material that delves into them deeply. This story is not the Great American Novel but it does boldly confront the great American issues.

The casting, is partly to blame for this fiasco. The unmixable Hopkins and Kidman probably was supposed to produce a big box-office draw. As the priapic Silk, the usually excellent Hopkins is too stiff, lacking the animal charisma to gulp down Viagra to frolic in bed with Faunia. Talk about lack of chemistry. You can more readily imagine her with Harris' certifiable loony character. And the usually excellent characters delivered by Kidman, in this film simply looks too glamerous to be cleaning toilets and milking cows, especially with her porcelain skin and tousled ringlets.

And so, the film overreaches at times, and may not be as powerful as the material deserves. However, THE HUMAN STAIN is not exactly a failure.

Flawed but Interesting
During WWII, millions of Jews whose only crime in the eyes of some where their being
Jewish. Thousands to over millions were sent into concentration camps where few
survived and many were murdered, even the innocent of innocent, the children. Those
Jews who managed to escape did so by fleeing to hopeful safe harbors in other countries,
or, they passed. Far from passing to gain material wealth, power, and a share in the
decadence of the predominant group, these Jews simply sought to survive and see
another day. One cannot help but admire those who spent the rest of their lives,
whenever possible, challenging racism and bigotry and injustice.

The titled character in the HUMAN STAIN is far from being admirable and sympathetic.
Coleman Silk is a black man who chooses to pass as white to enjoy the privileges of
being white. He doesn't care to fight the injustices that deny his people their humanity,
but instead chooses to cater and bow down in honor and the keeping of such injustice
against his own people. Ironically, at the time he passes, those Jews who where unable to
pass were being killed, entire families. Even more ironical, Silk chooses to pass as
Jewish. He turns his back on his family, even after his mother in the movie pleads with
him in what has to be the best emotionally intense moment in the movie. Seemingly
without much conscious to morals, Silk starts his life new as a white man without anyone
ever suspecting him as being anything other than this. He marries a white woman, begins
a career as a college professor, lives the American dream of freedom without roadblocks.
Life is pretty good until his wife dies and two black students accuse him of using a racial
slur against them which is accidental and unintentional, but Silk so long denying his
heritage does not realize the power and mistake of the word he has used. At this point,
his mask begins to fall off and his past comes back to haunt him and it is not forgiving.

The main problem with this film is the way the story is told. The makers would have
done better to tell the story from the perspective of the young Silk instead of the old Silk
who is played by Anthony Hopkins. Moreover, the character played by Nicole Kidman,
who Silk begins a May/December relationship with in the midst of the Clinton sex
scandel with a young intern, seems to pollute the storyline and burden it down. Kidman
plays her part well, as the entire cast is excellent, but her character should have been
exercised from the story on the big screen all together. It is the young Coleman Silk and
his family who are the really interesting characters deserved more time on screen instead
of only being seen in flashback scenes.

The press for this movie was a lesson in the racial divide that is growing in the U.S. The
press took more of an interest in seeing how quick the guy who played young Silk,
Wentworth Miller, would distance himself from being black than they did in the moral
questions raised in the movie or book of the same name by a white man. Sadly, they may
have gotten what they wanted. I hope that I am wrong. I would take great pride in being
wrong!!!!! and offer an apology for the misunderstanding of Miller. Rather than
understanding the diversity of the black American community, that is, that black
Americans are a multi-cultural people whose blood roots extend not just in Africa but
also Europe and even Asia and all those places in between, regardless of the complexion
of skin or of the skin or race of one or both parents--the cause of the huge color spectra
among black Americans and blacks from North America to South America--, and, that
black Americans are a people proud of their ancestry in all its diversity regardless of what
only a handful of extremely bigoted afro-centralist don't want admitted and many white
Americans refuse to take time to learn and understand, the press has played to its own
blind and ignorant liberal bias that divides blacks Americans into dangerous social stratas
of ethnicities. For his part, Miller, who doesn't deny his heritage like he has done in
playing earlier roles in his career until the HUMAN STAIN, has shown a proclivity not
to correct his interviewers and has legitimized their prejudices that the one drop rule of
blood applies to all but a few of black Americans who have one non black American
parent, political correctness at its most perverse and dangerous. Miller doesn't
understand or doesn't want to understand that he is legitimizing racist fallacies.

To those who choose to watch the movie, or even, read the book, keep in mind that the
story is written from the view point of those or one person not in the know to all the
nuances, diversity, complexity, pride, heartache and tragedy, joy, sometimes
embarrassment, anger, struggle, bloodlines, and stories to the black American community
no matter how sympathetic and understanding they claim to be.

It's Stained Alright
What in god's name was Robert Benton thinking? Or Sir Anthony? Or Gary Sinise? Was Ed Harris after the Oscar he was denied last year? This film is a perfect example of a wonderful combination of artists put together & creating a monumental cinematic disaster.. Gary Sinise(narrating here)sounds like he was awakened from a deep sleep, had a microphone shoved in front of him & handed the script to read from. Anthony Hopkins looks like he can't wait for it to be over. I wonder if when he studied acting, he ever thought he'd have to do a scene where he half-heartedly discusses the joys of Viagra. I'm not sure what Nicole Kidman's character was supposed to be...watch her closely..sultry? sexy? femme fatale? I don't think she did either.. This DVD should be free with ANY purchase...Disastrous.....

A man's stormy, unhappy life's journey
This film is certainly enjoyable and worthwhile if you can accept the premise that Anthony Hopkins' character has buried his secret for his entire adult life and now confesses all to his spunky, unlettered lover Faunia [Nicole Kidman]. The movie is told in many flashbacks and will be hard to follow for those who don't pay close attention. Professor Silk's problems at his college that lead to his tribunal before the faculty and subsequent resignation are filled with irony but it doesn't seem that it is Hopkins who bears the insecurity, shame and humiliation of being in denial all his life as much as Wentworth Miller does who plays the younger Coleman Silk. The vignettes tell tragic and unhappy stories but reveal the Silk family as proud and dignified and they are represented by a wonderful cast of talented actors. Hopkins and Kidman, as expected, are great as partners in a May-December affair. ... Read more

Reviews (26)

Super movie, overlooked and underrated! Gene Hackman
I can't believe how much people focus on Paul Newman in this movie. Gene Hackman is great. 70 year old actors are more capable than younger actors. Susan Sarandon looks wonderful... Stockard Channing has a great chemistry with Paul Newman. This movie will take you away to a place where loyalty still means something and people care about each other. James Gardner plays his part well. I don't like to reveal too much with a mystery, the other supporting characters are good. This is a gritty, true to life mystery. Reese Witherspoon was very fortunate to have this as one of her first movies, anyone with any sense would have taken their clothes off to work with this cast! She plays the spoiled daughter well. It compares to LA Confidential in my experience...

The Fall of Twilight
Director Robert Benton (Kramer vs. Kramer, Places in the Heart) has crafted a film reminiscent of the 1940's in this complex and character driven film with an ensemble cast of screen veterens and one future star in her first adult role. The mystery is engrossing and the performances are stellar as Benton shows how age sometimes shades the black and white of right and wrong to gray.

The story revolves around former P.I. Harry Ross (Paul Newman) attempting to do a favor for Jack Ames (Gene Hackman) that leads to blackmail and murder, and may involve Jack's beautiful wife Catherine Hayward (Susan Sarandon). A twenty year old murder comes into play as well as Harry slips back into a life he left behind when the Ame's spoiled little brat Mel (Reese Witherspoon) brought him some bad luck a few years prior down in Mexico.

Newman is terrific as he reluctantly tries to fix things for everyone as the bodies pile up. It's a task that gets more difficult as he gets closer to the truth. The unspoken attraction between he and Catherine is cause for concern as well in this character driven mystery. Stockard Channing gives a nice performance as Harry's old flame Lt. Verna Hollander, and Reese Witherspoon acquits herself nicely in her first adult (she has a nude scene) film.

Benton has added some humor to this story also, giving it the feel of reality. This film was not designed for the teen driven box office of today but for the rest of us. It has some terrific performances from the entire cast and some true to life moments.

It is James Garner who truly shines though as the old pal of Harry and Jack, Raymond Hope. Garner always makes it look so natural and easy his performance sometimes gets overlooked. He is really great here and the interplay between he and Newman as they discuss growing older and the events taking place are priceless. It may seem clear what happened twenty years ago but it is the relationships that drive this story and the ones that are shattered forever when Harry finally peels away the gray to reveal the black and white.

This is a fine film that subtly shows what can happen to people who become used to having everything work out for them. As Garner's character Raymond tells Harry, "There's them, and there's us, Harry." Benton has crafted an old style film that you won't want to miss if your tired of the teen box office fare. It is a mature and thoughtful mystery and a meditation on friendship and growing older. This one is worth watching.

Not too bad...could've been better.
Just look at all that talented acting. Sarandon, Newman, Hackman and Garner kind of wasted. They had the star-power, but it was wasted with the weak plot. The film just never reached its full potential. But had some good moments and is certainly good for a one-time view. Great for the murder/mystery/thriller buffs or if your a fan of one these fine actors then its worth it. Yes, Yes, Reese Witherspoon gets all naked, this alone makes the movie worth a rent :)

If you like detective stories...
Normally, the main selling point of this movie would be an outstanding cast that includes none other than the likes of Paul Newman and Gene Hackman. However, in the case of this film, that factor is trumped by Reese Witherspoon waltzing around topless.

While I have never been a huge fan of detective stories, this one was fairly entertaining. The narration is much like the famous ones from the 1940s / 1950s era.

This was the first time I've seen James Garner surface in quite awhile. While he is pretty-much a one dimensional actor, he still possesses a decent screen-presence and keeps up with Newman and Hackman nicely.

For those viewers who would be more interested in Witherspoon, this movie is a can't miss. To my knowledge, this is the only nude scene she has ever done. It also happens within the first 5 minutes of the film, so you don't have to wait too long in anticipation.

a sleeper worth seeing
Admittedly Robert Benton's neo noir "Twilight" suffers from leaden pacing and a script that lacks any real suspense or suprise (two invaluable ingredients in the genre). It also possesses a strange similarity to Arthur Penn's excellent "Night Moves" (also starring Gene Hackman).

That said, "Twilight" proves a most effective small film that benefits from an excellent cast playing at the top of their game.

Robert Benton has always worked wonders with an ensemble cast and ,in "Twilight", he continues his excellent track record as an "actor's" director. Benton's willingness to sit back and let some of films' greatest artists work their magic makes much of the aforementioned pacing issues almost a moot point. Gene Hackman, Susan Sarandon and the always excellent and grossly underrated James Garner all turn in subtle performances here. It really is a sheer privilage and joy watching these veteran masters spin their polished craft. A young Reece Witherspoon and Liev Schriebner also turn in fine performances.

Of course at the center of "Twilight" stands the beautiful artist Paul Newman. Few actors in Hollywood history have consistently turned in as many excellent peformances. Newman proves yet again that a superb actor can transcend a less than stellar script.

This is an actor's film. Anyone craving watching a concert of well tuned instruments played by masters need to look no further. None of the performances are Oscar worthy, which makes them all the more special. Sometimes the best acting occurs when the audience cannot see the wheels spinning and the strings pulling.

Along with gorgeous cinematography, "Twilight" with its fine performances is a sleeper well worth seeing. ... Read more

Reviews (5)

calling all nicole kidman fans
All the allure of the early century cloak and dagger tableau in underground new york is subtly and densely captured in this movie. dustin hoffman is brilliant as the ruthless godfather like schultz. the atmosphere created in the movie is definitive gang land new york with its alleys, shadows and deciets. one wonders what bruce willis was doing in this movie however. of course the real charm in this movie radiates from the very luminous and as captivating as ever, nicole kidman. she is the perfect foil to the dark, brooding whispers emanating from the rest of the shadowed characters. this woman has perfected the art of portraying the bewitchingly enchanting but alluringly challenged lover and seducer. all the signs of the later phenomenon she was to become are strongly manifested in this movie. so sit back and take a really long and inspiring look at those entrancing grey tinged blue eyes, the disarming smile and the marvellously delectable theatre of her expressions, sometimes questioning, sometimes tempting, sometimes intelligent, always beautiful. what's more, her 2 full frontal nude scenes will have you gasping with shocked delight.no actress brings more casual innocence and rivetting beauty to a nude than this woman. sit back and enjoy yourselves.

Billy Bathgate--Cinema's Quiet Godfather
"Billy Bathgate" charts the seemingly charmed path of a resourceful street kid (Loren Dean) who latches on to the Dutch Shultz mob in Dewey-era New York City. Shultz (Dustin Hoffman) has a gang which has seen the zenith of its power; its fighting to hold his place in a world with Irish and Italian politicians and mobsters.
As the movie opens with an initial act of betrayal, the moll (Nicole Kidman) is thrust upon both the man and the boy. The movie is blessed with strong performances by secondary characters played by Steven Hill, Steve Buscemi, Stanley Tucci, Bruce Willis, and a number of other actors whose faces you know but might not be able to name.

Since seeing this movie originally at the theatre and several times on cable tv, I've wondered why it didn't have a bigger following. I'll offer up a few reasons, all of which may explain why a great and touching movie is under-appreciated. First, the ostensible lead character--Loren Dean's Billy--is not really the lead character, he's the witness (and possibly catalyst) to the arc of the Shultz gang; Mr Dean, alas, also does not seemed to have had the kind of box office appeal to give the movie a higher profile. The film's erstwhile "star", Dustin Hoffman, plays a character that doesn't have the dominating screen time to make this his story or the film Hoffman's. Finally, the film doesn't really follow the standard arc of a Hollywood hero's journey: the Shultz gang is on the decline, and its not clear that the boy is on the ascent.

This is a quieter version of Mob-America and yet to me otherwise like the Godfather not a single frame is wasted, and the direction is flawless. I hope you like it.

Over looked, underrated Robert Benton period film
"Billy Bathgate" had the misfortune to be released the year after "Goodfellas", Scorsese's great gangster film which revived interest in the genre. True, "Billy Bathgate" is also about gangsters, but if you know the works of its director, Robert Benton, and those of Scorsese, you know they are not similar directors at all. While both men are fascinated by interesting characters, Benton is more intellectual and less visceral. Even in his most famous early screenplay, "Bonnie and Clyde", the characters spend a surprising amount of time sitting around and talking prior to the movie's infamous and violent climax. So, "Billy Bathgate" does not provide as much action or as many gut level situations as a typical gangster film. What is has is great atmosphere, a literate script by Tom Stoppard, brilliant cinematography by Nestor Almendros, and some interesting performances.

Billy [Loren Dean] is a bright kid growing up in New York in the 1930s. The son of impoverished immigrants, he is getting most of his education in the streets. In his neighborhood, the heroes are gangsters like Dutch Shultz [Dustin Hoffman] and his men because they represent a way to climb out of poverty and to earn respect. One day Billy catches Shultz's eye and is soon working for him. The kid's not violent but he witnesses many acts of violence. These obviously unnerve him, but the lure of a fast buck is strong. Things get complicated when he is put in charge of looking after a rich society dame [Nicole Kidman], who has a sham marriage to a gay but powerful New Yorker. She gets her kicks by dating gangsters. She's in terrible danger because of something she saw, but she doesn't seem to be aware of it, though Billy is. He's also aware that she's the most beautiful and desirable woman he's ever met.

I thought the movie was interesting and well done. I can see why others might find it too slow and talky. It has an elegance and a dignity that is somewhat at odds with its subject matter, but I found this contradiction fascinating. I also enjoyed watching Ms. Kidman in a role that predates both her American stardom and her years as Mrs. Tom Cruise. No one at the time was aware of the phenomenon she would later become, but looking at her from a decade's distance, all the signs are plainly there.

An Strong Nearly Perfect Ganster`s Film.
A Young Man by the name of Billy Bathgate (Fine Performance by Loren Dean). A street Poor Kid-Which before becoming Friends with a Dangerous Big-Time Crazy Hood named Dutch Schultz (Well Played by Two Time, Oscar Winner-Dustin Hoffman), which Billy becomes a Coveted Position in the Crime Organization.

Directed by Three Time, Oscar-Winner:Robert Benton (Kramer Vs. Kramer, Nobody`s Fool, Twilight) made a Clever, Something Funny Compelling Ganster Film-Helps also by an Excellent Supporting Cast, Including-Nicole Kidman, Bruce Willis, Steve Buscemi and Stanley Tucci. Sharply Written by Oscar-Winner:Tom Stoppard, which this Movie is Based on the Novel byu E.L. Doctorow. This is a One of a Kind Film, Which is Very Entertaining. Grade:A.

Dustin hoffman is good but its all downhill form there
Lavishly filmed, lengthy mobster drama about a declining Depression-era gangster. Critics praised the lead performance, but consider this flawed. Still, fans of high-budget historical epics and Dustin Hoffman may enjoy. ... Read more

Reviews (33)

Divorce In The 70's
1979's Kramer vs. Kramer mirrored a trend that was becoming more and more prevalent in America in the 1970's, the breakup of marriages. Dustin Hoffman & Meryl Streep star as Ted & Joanna Kramer. Ted is the prototypical yuppie. His job in an advertising company is really accelerating and it is taking up most of his time from his family that also includes eight-year old Billy (Justin Henry). Ted is so involved in his career, he knows little of the day-to day routine of his own household. One day, Ted's world is shattered when Joanna leaves him and Billy in order to find herself. Ted must learn how to raise his son, juggle his work and home life and go through a divorce trial. The film is both poignant and touching as Ted & Billy bond and form a loving relationship. Mr. Hoffman is excellent as is Ms. Streep and Jane Alexander gives a strong turn as the Kramer's woman's libber neighbor who Ted feels egged Joanna on and caused the breakup of his marriage. But the true find is young Justin Henry. He gives one of the finest performances by a preteen in movie history. The film was much lauded and praised and come Oscar time, Mr. Hoffman finally took home the Best Actor award after several failed nominations. Ms. Streep won Best Supporting Actress, director Robert Benton took home the Best Director award and the film won Best Picture.

Scenes From A Divorce
Those's who are familiar with the Ingmar Bergman film "Scenes From A Marriage" might get a kick out of my heading for the movie and my think of it as nothing more than a silly pun, but think about it. "Kramer vs Kramer" does for divorce what Bergman's film did for marriage. Okay, I'll stop the jokes.

Robert Benton's "Kramer vs Kramer" is really a well made, powerful, semi-heart tugging movie. Based on a novel written by Avery Corman, Benton (who wrote the film also) takes a clos look at what happens when a couple gets a divorce when children are involved. "Kramer ect" offers us a twist. Here it is the woman (Meryl Streep) who leaves her husband (Hoffman) and now Hoffman has to raise their 6 year old son by himself. Yes, the film goes for some quirky, funny shots in the beginning, and it's done with some realism, we might expect the characters to behave this way, but then the film goes for more heart.

As much as I enjoyed this film, I do think it's odd that this won the Oscar for best picture. 1979 had some strong movies, "Apocalypse Now", "All That Jazz", and although it wasn't nominated for best picture that year, one of my favorites Woody Allen's "Manhattan". But still "Kramer vs Kramer" was nominated for 9 Oscars, and walked away with 5. Also, something I want to point it is the nominated camerawork by Nestor Almendros, who many know for his work with Francois Truffaut and Eric Rohmer.

Bottom-line: Heartfelt, powerful and sometimes realistic look at what happens during a divorce. Very good performances by Hoffman and Streep (both won Oscars) and strong directing by Benton.

Cry More vs. Cry More
MAD MAGAZINE named the movie "Cry More Vs.Cry More" for the parody of the film. KRAMER VS. KRAMER is an effective tearjerker with somewhat of an unrealistic ending. The movie is manipulative but somehow manages to be a riveting divorce drama with clearly defined characters to care about. The standout character being young Justin Henry as Billy Kramer. The other issue here is the telling of a single father's trials and tribulations of suddenly taking on the responsibilities of single handedly rearing a child. The film shows the evolution Ted Kramer (Hoffman) with the relationship of his son and the definition of being a father. The film seems to be in two parts. The first being the set up of establishing the relationship of father and son, the second part is when the mother Joanna Kramer(Streep) "finds herself" (remember that catch phrase from the 70's?), has established a career, and decides that she wants her son back. She suddenly appears out of nowhere to get her son back. This is when the movie becomes a cut-throat custody courtroom battle between the Kramer's. Actor Howard Duff is excellent as Ted Kramer's/Hoffman lawyer John Shaunessy. The other standout performance is Jane Alexander as best friend (Margaret Phelps) to both the Kramer's who suddenly finds herself torn between the two sides of the custody battle. Overall, a movie that has captured a moment of time, showing some conventional if not sugarcoated problems of a bitter divorce. The film is notched up a bit because of the casting and oustanding performances of the leads.

1 star NOT for the movie
Is there any chance the movie studio will get a clue and reduce their list price?! DVDs are cheaper now...wake up already. This DVD has been out going on 3 years now. It's time to slash and burn the prices.

Beautiful casting, beautiful acting, beautiful movie
Dustin Hoffman and Meryl Streep don't make a single mistake in this movie, and neither does Justin Henry, the kid actor who plays the child torn between two parents. Hoffman plays a workaholic dad who is stunned (when his wife abruptly leaves him) to find himself the single parent of a child he barely knows. The film is beautifully book-ended between two telling events: getting breakfast for himself and his son at the beginning, we watch Hoffman hilariously, angrily, and ineptly screw it up, while by the end father and son have a quiet dance of cooperation and guy-ness all worked out. There are so many similar pivotal moments, such as a playground accident that sends Hoffman, child in arms, racing the streets of NY to the emergency room. Hoffman finds he cannot balance the demands of parenting with the high-pressure demands of his job in the advertising industry - and he chooses parenting. Then, like multitudes of single MOMS before him, he discovers how difficult it is to make ends meet.
Meanwhile, his wife, freed of parenting responsibilities, is on her own trajectory, is 'finding herself,' and becomes financially successful. Also, she watches how husband and son are doing, spying on them from a distance, and we sense her loss and her pain - yet also her pride that Ted (husband/father) is actually coming thru for the kid.
Then comes the custody battle at the end, the wrenching scene in the elevator - and Streep's final comments to the judge. Wow. Kramer vs. Kramer won 5 Academy Awards. Filmed in 1979, it is just as relevant today as it was 25 yrs ago.
People who declare this film is one of the finest movies ever made aren't lying. ... Read more

Reviews (33)

Divorce In The 70's
1979's Kramer vs. Kramer mirrored a trend that was becoming more and more prevalent in America in the 1970's, the breakup of marriages. Dustin Hoffman & Meryl Streep star as Ted & Joanna Kramer. Ted is the prototypical yuppie. His job in an advertising company is really accelerating and it is taking up most of his time from his family that also includes eight-year old Billy (Justin Henry). Ted is so involved in his career, he knows little of the day-to day routine of his own household. One day, Ted's world is shattered when Joanna leaves him and Billy in order to find herself. Ted must learn how to raise his son, juggle his work and home life and go through a divorce trial. The film is both poignant and touching as Ted & Billy bond and form a loving relationship. Mr. Hoffman is excellent as is Ms. Streep and Jane Alexander gives a strong turn as the Kramer's woman's libber neighbor who Ted feels egged Joanna on and caused the breakup of his marriage. But the true find is young Justin Henry. He gives one of the finest performances by a preteen in movie history. The film was much lauded and praised and come Oscar time, Mr. Hoffman finally took home the Best Actor award after several failed nominations. Ms. Streep won Best Supporting Actress, director Robert Benton took home the Best Director award and the film won Best Picture.

Scenes From A Divorce
Those's who are familiar with the Ingmar Bergman film "Scenes From A Marriage" might get a kick out of my heading for the movie and my think of it as nothing more than a silly pun, but think about it. "Kramer vs Kramer" does for divorce what Bergman's film did for marriage. Okay, I'll stop the jokes.

Robert Benton's "Kramer vs Kramer" is really a well made, powerful, semi-heart tugging movie. Based on a novel written by Avery Corman, Benton (who wrote the film also) takes a clos look at what happens when a couple gets a divorce when children are involved. "Kramer ect" offers us a twist. Here it is the woman (Meryl Streep) who leaves her husband (Hoffman) and now Hoffman has to raise their 6 year old son by himself. Yes, the film goes for some quirky, funny shots in the beginning, and it's done with some realism, we might expect the characters to behave this way, but then the film goes for more heart.

As much as I enjoyed this film, I do think it's odd that this won the Oscar for best