There are some good scenes in Between the Lines and some good performances… but thanks to director Micklin Silver’s direction, a lot of it feels like a really unfunny episode of a sitcom. “A very special episode” or something. It’s like maudlin moment strung over ninety-some minutes only to bounce up at the end. The film also suffers an aimless, meandering story. There are four subplots making up the film and it manages to go pretty well without a real plot, because the romance between John Heard and Lindsay Crouse, which is aimless and meandering too, but Heard’s good–for the most part–and Crouse is appealing. Micklin Silver doesn’t direct the actors very much and some of takes she went with really shouldn’t have been printed. Anyway, the film pretends it doesn’t have these plots and is somehow anti-plot… which only makes the plots more obvious.
There’s the love story, the young American author and girlfriend, the scandal and the buying of the newspaper. The first one gets a lot of attention, but none of the others get enough. It’s unbelievable, for example, anyone would date Stephen Collins before he signs his book contract and becomes a jerk who wears sunglasses in clubs, much less after. The scandal is stupid, gives Bruno Kirby something to do (like he’s being groomed for when the sitcom’s lead leaves). The buying of the newspaper is what it is–obviously and convenient, since the movie ends five minutes after the scene.
Where Between the Lines is not standard is in how much Micklin Silver shows of people’s interactions with each other. There some great raw scenes in here and there’s a real sense of reality (even if she does earn all those tickets she spends it all on a big dumb teddy bear in the shape of Raymond J. Barry–who is great in his scene, which consists of him, quite unbelievably, wrecking havoc in the newspaper office). So, by the end of the movie where Lane Smith turns out not to be the progressive, free-thinking new boss and is instead just corporate jackass… well, it came as little surprise. The subsequent day dream sequence, on the other hand, was simply inexcusable.
The performances, besides Stephen Collins and Jon Korkes and most of Gwen Welles (except her character is unbelievable), are all good. Jeff Goldblum’s funny, Marilu Henner has a nice small part; the big surprise is Jill Eikenberry, who is fantastic. Joe Morton has a small role and he’s good.
There’s actually an accounting geek in the office who wears bow-ties and is the butt of all the hip people’s jokes. It’s ludicrous and makes the whole movie feel a little like a self-aware farce. Until reality returns and it becomes clear… it isn’t a joke.
Directed by Joan Micklin Silver; screenplay by Fred Barron, based on a story by Barron and David Helpern; director of photography, Kenneth Van Sickle; edited by John Carter; music by Michael Kamen; produced by Raphael D. Silver; released by Midwest Films.
Starring John Heard (Harry Lucas), Lindsay Crouse (Abbie), Jeff Goldblum (Max Arloft), Jill Eikenberry (Lynn), Bruno Kirby (David Entwhistle), Gwen Welles (Laura), Stephen Collins (Michael), Lewis J. Stadlen (Stanley), Jon Korkes (Frank), Michael J. Pollard (The Hawker), Lane Smith (Roy Walsh), Joe Morton (Ahmed), Richard Cox (Wheeler), Marilu Henner (Danielle) and Raymond J. Barry (Herbert Fisk).