A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Love Letters. Show all posts
Showing posts with label Love Letters. Show all posts

Thursday, June 5, 2025

Love Letters (Amy Holden Jones, 1983

James Keach and Jamie Lee Curtis in Love Letters

Cast: Jamie Lee Curtis, James Keach, Bonnie Bartlett, Matt Clark, Amy Madigan, Bud Cort, Rance Howard. Screenplay: Amy Holden Jones. Cinematography: Alec Hirschfeld. Art direction: Jeannine Oppewall. Film editing: Wendy Greene Bricmont. Music: Ralph Jones. 

In Amy Holden Jones's Love Letters Jamie Lee Curtis plays Anna Winter, a woman who discovers a cache of love letters from a man not her father among her dead mother's things and is somehow inspired by them to have an affair with a married man. Curtis does her considerable best with a role that's more concept than character, but Jones's screenplay makes her do a lot of stupid and impulsive things, made more implausible  because the man, played by James Keach, doesn't have the charisma that might inspire her to do them. The film is a throwback to the old weepies like Back Street (John M. Stahl, 1932, Robert Stevenson, 1941, and David Miller, 1961), though Curtis's character is given more agency than the women played by Irene Dunne, Margaret Sullavan, and Susan Hayward in those earlier versions, and she doesn't have to die at the end. What psychological depth Jones's film has is enhanced by Anna's relationship with her alcoholic creep of a father (Matt Clark), who seems to have a more than paternal affection for her. The movie also adds some gratuitous nudity, insisted on by its producer, Roger Corman, who backed the filming of Jones's script as a reward for her successful direction of The Slumber Party Massacre (1982).