With The Big Chill, Kasdan tries to be profound, heart-warming and cynical. He doesn’t succeed. For a film so much about introspection, Kasdan is surprisingly unaware at the inherent artifice. The film’s cast of characters are–if they’re male–extraordinary. There’s some lip service to the women’s successes (doctor, lawyer) but the men are rich or famous. It leads to some contrivances. If Kasdan and co-writer Barbara Benedeck were more conscious of the artifice, Chill would probably be great.
As it is now, it’s a good film with some great performances, outstanding technical qualities and a lot of boring stretches. A couple of characters are misfires. Kevin Kline’s Southern royalty, besides being a painfully artificial characterization, isn’t believable as a former hippie. And JoBeth Williams is so unlikable, I was confused about her having kids–I assumed, given her heartlessness when talking about them, they were stepchildren.
But there are outstanding performances too. The most surprising ones are Tom Berenger and Meg Tilly. Kasdan and Benedeck don’t give equal time to the cast and Berenger–and William Hurt–are mostly the male leads. The women get far less representation–Mary Kay Place, who’s outstanding, is the closest thing to a female lead.
Glenn Close and Jeff Goldblum are kind of window dressing. Their few scenes together, however, are great.
Kasdan’s composition, aided by John Bailey’s cinematography, is often wondrous. A lot of credit for Chill belongs to Carol Littleton’s nuanced editing.
Chill‘s parts are better than its whole.