Tag Archives: Jeremy Thomas

Blood and Wine (1996, Bob Rafelson)

Boiling them down, three things ruin Blood and Wine. Stephen Dorff, the script and the approach. The last two are complicated, because it’s hard to see determine where the script and the approach differ. Blood and Wine was, at the time of its release, promoted as the conclusion of an informal trilogy for Rafelson and Nicholson–Five Easy Pieces, The King of Marvin Gardens and this one. It isn’t. Blood and Wine is no character study. It’s an attempt at extracting the thriller elements from a film noir. In that aspect, it’s at least interesting. Rafelson gives the characters, who are still essentially archetypes, some more time to become full. Jennifer Lopez gets the most of this attention, playing the femme fatale, only with depth. Lopez’s Cuban accent comes and goes, but her performance is strong more often than it is weak.

Rafelson’s direction is brilliant. Nicholson is great. Judy Davis is great. Michael Caine is astounding–it’s hard to believe he gave this astounding performance then almost immediately started hacking it out. Seeing Dorff with these actors–though the majority of his scenes are with Lopez, who’s far better than he is, but not astronomically–is uncomfortable. Watching Davis (in her, unfortunately, glorified cameo) act opposite him… it’s incredible she was able to keep a straight face. She’s giving this layered, textured, beautiful performance and he’s got less screen presence than a wilted tulip. He’s just awful. Much of Blood and Wine can be spent imagining someone else in his role and how much more successful the film would have turned out.

But it isn’t just Dorff being a terrible actor, it’s how loose the script gets when it concerns he, Davis (as his mother) and Nicholson (as his step-father). Dorff’s an indeterminate, younger than Lopez in the film–at times it seems like he should be a teenager, then he drinks a beer in a bar so it seems like he should be at least twenty-one. The script makes him hostile to Nicholson–and turns him into an adaptive killing machine like Michael Biehn in The Terminator–so Blood and Wine flops when it tries to position the two as some kind of (albeit dysfunctional) father and son.

The scenes where Nicholson is caring for Davis, who he mistreats, are stunning. Or when he and Caine (as his partner in crime) are on a road trip, peerless. The scene where Nicholson cares for the ailing Caine… it’s wonderful. It’s a shame the film acts like Dorff and his romancing of his step-father’s girlfriend Lopez (which fails because Lopez isn’t visibly any older than Dorff) is a better plot thread.

The end of the film–it’s hard to say if Blood and Wine is too long, because it’s entirely too crappy in general by the final third, to really concentrate on assigning specific blame–is a misfire, almost a damning one. I had to force myself to remember how well Rafelson made the film and what beautiful performances sixty percent of the cast turned in.

Both Harold Perrineau and Mike Starr are good in smaller parts–especially Perrineau. Michal Lorenc’s music is wonderful, as is Newton Thomas Sigel’s photography. The editing–from Steven Cohen–occasionally has some bumps, like maybe Rafelson didn’t get enough coverage.

It’s an incredible disappointment.

1/4

CREDITS

Directed by Bob Rafelson; screenplay by Nick Villiers and Alison Cross, based on a story by Villiers and Rafelson; director of photography, Newton Thomas Sigel; edited by Steven Cohen; music by Michal Lorenc; production designer, Richard Sylbert; produced by Jeremy Thomas; released by Fox Searchlight Pictures.

Starring Jack Nicholson (Alex), Stephen Dorff (Jason), Jennifer Lopez (Gabby), Judy Davis (Suzanne), Michael Caine (Vic), Harold Perrineau (Henry), Robyn Peterson (Dina Reese), Mike Starr (Mike) and John Seitz (Mr. Frank Reese).


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Everybody Wins (1990, Karel Reisz)

What a weird movie. Debra Winger cannot act. Don’t know exactly why Terms of Endearment worked, but she cannot act. She’s really terrible in this one. Arthur Miller adapted his play, which was from 1982–except it was a one act play. Somewhere in the adaptation, Everybody Wins becomes a ludicrous attempt at a thriller. It’s set in a Connecticut town, which looks a lot like Pennsylvania in the film, and Reisz gives the setting absolutely no personality.

Winger convinces Nick Nolte to investigate a case, except she’s a total flake and doesn’t tell him anything about the case until the last fifteen minutes. So, right away, it’s unbelievable for Nolte, playing a renowned investigator, would put up with Winger. Most of their scenes involve her hiding something from him, but he sticks around… because if he left, it’d be a one act movie. Will Patton shows up for a bit and he’s fine. He and Nolte have an interesting relationship for a few scenes. Poor Jack Warden stuck in a nothing role, just to pop in whenever you’ve forgotten he’s in the movie.

It’s not really a case of the film being predictable, but once some of the clues come out, it’s unbelievable Nolte the investigator wouldn’t piece anything together. Except he pieces absolutely nothing together–in the entire film–which dismisses it as a mystery or detective film. There’s no real jeopardy involved, so it’s not a thriller either. Winger’s so terrible it’s not a romance. The film’s only interesting with Nolte and Patton and Nolte and Judith Ivey, who plays his sister (the character’s got an interesting history, but none of it, apparently, gets to come through in the film).

I’ve seen Reisz and Nolte’s other collaboration, Who’ll Stop the Rain, and I guess Everybody Wins is better. Everybody Wins is shorter and, for the first half, it’s just boring, not particularly bad. In fact, I think some of the beginning might even be good. Nolte’s does a good job, but it’s definitely one of his autopilot performances. Reisz has some good moments (just can’t make the setting stick until the end, when it’s too late to fix the film). There’s even homage to Who’ll Stop the Rain, which I can’t believe anyone would pick up on, but who knows, maybe there’s somebody else out there going through all of MGM’s Nick Nolte releases too.

1.5/4★½

CREDITS

Directed by Karel Reisz; screenplay by Arthur Miller; director of photography, Ian Blake; edited by John Bloom; music by Mark Isham; production designer, Peter Larkin; produced by Jeremy Thomas; released by Orion Pictures.

Starring Debra Winger (Angela Crispini), Nick Nolte (Tom O’Toole), Will Patton (Jerry), Judith Ivey (Connie), Kathleen Wilhoite (Amy), Jack Warden (Judge Harry Murdoch), Frank Converse (Charlie Haggerty) and Frank Military (Felix).


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