Indian Summer (1993, Mike Binder)

Indian Summer is genial and life-affirming. Writer-director Binder imbues it with an optimism and positivity–as long as you have the right support system, anything is possible. Given the film’s about a bunch of thirtysomethings who return to their childhood summer camp to find themselves, it’s a little weird Binder gives the best character arc to Kimberly Williams-Paisley. She’s the twenty-one year-old fiancée to the most obnoxious thirtysomethings (Matt Craven). Her arc, forecasted nowhere, propels the film into its third act, full of possibility. Shame Binder doesn’t do much with the momentum.

Diane Lane and Julie Warner get the biggest story arcs. Lane’s a recent widow–her husband was also a camper, because summer camp apparently decided everyone white’s life in the early seventies–and she needs to mourn. She’s got good friend Elizabeth Perkins there to support her, which she really needs when her husband’s childhood best friend returns a bit of a hunk (Bill Paxton). Meanwhile, Warner is married to Vincent Spano (who used to get busy with Perkins when they were in camp) and the marriage is rocky. Maybe because Spano wants to quit his business with cousin Kevin Pollak (also a camper), but can’t figure out how to tell him. So apparently Spano takes it out on Warner. Binder’s script isn’t great at scenes of angst and it’s downright terrified of getting too close to its characters.

They might be unlikable then and it’s such a pretty, pleasant cast (everyone has great, brown hair), who would want them to be unlikable? Except maybe Craven, who’s cut off from everyone else, hence having to bring Williams-Paisley along. Paxton’s arc is more with camp owner Alan Arkin, who has invited his favorite campers from over the years back for a week. Oddly, they’re all from the same year. Coincidences abound in Indian Summer.

Arkin’s really solid when he’s lead. Binder never really gets into how the campers coexist with him–they’re back to hang out with each other, leaving Arkin to mostly pal around with handyman Sam Raimi (who’s in this mystifyingly great slapstick part)–and it’s a missed opportunity. Especially since, unless you’ve got someone to kiss, Binder leaves you behind. Perkins and Pollak end up with almost nothing to do by the end, Perkins with even less. But Indian Summer’s got to be genial and life-affirming, it’s got to live up to the beautiful Newton Thomas Sigel photography, which turns the summer camp–in the late summer sun–into a golden Great Lakes paradise.

Still, it’s not like Indian Summer is always lazy. Binder does go somewhere with the Paxton and Arkin thing, he does go somewhere with Williams-Paisley. He’s just not willing to hinge the whole thing on being too thoughtful. There needs to be cheap payoff, albeit beautifully lighted cheap payoff. Until that payoff, however, Binder’s really just letting the actors develop their characters. The second act is pretty loose–there are set pieces, usually involving pot or pranks, but Binder’s in no rush. The present action changes pace fluidly in the tranquil setting, with its amiable cast and their not too serious, but sort of, grown-up problems.

So the performances matter a lot. Arkin’s always good, but he doesn’t get anywhere near enough to do. Binder’s just as set in an age group–the thirtysomethings–as if he were making a movie about teenagers at camp and barely had the counselors in it. Pollak and Perkins are great. They get to be great, because Binder doesn’t need them for anything structural. Lane and Paxton are fine. Lane should have more to do than Paxton but doesn’t. Warner’s good. She overshadows Spano, who tries to imply depth instead of convey it. Craven’s the weakest performance and he’s still perfectly solid. He provides a great springboard for Williams-Paisley to take off from.

And Raimi’s awesome.

Nice editing from Adam Weiss, okay if a little much music from Miles Goodman. Binder’s direction is good–he showcases that beautifully lighted scenery and moves his actors around in it well. Indian Summer is never trite, which is an accomplishment on its own, but Binder is way too safe with it. He denies Lane and Paxton a better story in particular. He writes caricatures then has his actors create people, so it’s a particular kind of disappointing.

★★½

CREDITS

Written and directed by Mike Binder; director of photography, Newton Thomas Sigel; edited by Adam Weiss; music by Miles Goodman; production designer, Craig Stearns; produced by Jim Kouf, Lynn Kouf, Robert F. Newmyer, and Jeffrey Silver; released by Touchstone Pictures.

Starring Alan Arkin (Unca Lou Handler), Diane Lane (Beth Warden), Bill Paxton (Jack Belston), Julie Warner (Kelly Berman), Vincent Spano (Matthew Berman), Elizabeth Perkins (Jennifer Morton), Kevin Pollak (Brad Berman), Kimberly Williams-Paisley (Gwen Daugherty), Matt Craven (Jamie Ross), and Sam Raimi (Stick Coder).