The Age of Commercialism

A different way of telling a story

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This review contains SPOILERS, I'm trying to save you from seeing this movie.I started watching this movie thinking I was going to like it. It looked like a coming of age tale, the 1950's Irish setting seemed appealing, the characters seemed interesting. The main character is a large, unattractive girl, Bennie, from a small town, and the story centers around her and her two friends, Eve and Nan. Eve was a simple girl with a moralistic bent, raised in a convent, while Nan grew up a sophisticated, big city girl in Dublin. The story really gets going while the three are at university. For a while it seemed like a sweet coming of age tale of some sort, but I should have been suspicious when all the excerpts of college lectures dealt with the sexual practices of savages, and with all the talk about sex, between the girls and between Bennie and her new boyfriend, a jock on campus and a pre-med major.The movie goes along pretty innocently for quite a while. The girls were in school, and it looked like the girls were striving to expand their horizons, improve their situation. They go to a dance and are caught up with boyfriends. Then a lot of the action is compressed in the last half hour of the movie, turning the whole thing into a big, sappy soap opera. Nan services some guy, get rejected by the buffoon when they discover she's pregnant, then seduces Bennie's boyfriend in an attempt to trick HIM into marrying her. Eve finds out, approaches Nan with a bread knife, causing Nan to fall, get cut, and lose the baby. The boyfriend then returns to Bennie and she takes him back, and the movie ends as these two are finally about to go all the way. As it ends, you don't feel uplifted, Bennie hasn't learned anything or grown, she remains a big, unattractive girl, now with a boyfriend that knows he graze in greener pastures once in a while and she'll take him back.

To answer the question about where both Chris O'Donnel and Minnie Driver are. Both have been working over the past few years putting out movies. They may not have been blockbuster films and why you may not have heard anything. Also, both are in production on movies this year in 2005.Next time just look them up on this site and you would have your answer.I have to say, I loved this film. It introduced me to Ms. Driver and I have been following her career ever since. I think she is under-rated as an actress.

Oh sure, I know he must be out there doing something. But I recently saw this for the 2nd time, the first time at a second run movie house and I just fell in love with movie again. Chris O'Donnell and Minnie Driver (what happened to HER?) have great (but not amazing) chemistry going between them, and throughout the movie I was also saying, "who is that weasely looking chap playing the father's assistant in the haberdashery shop?" Only to find out it was Alan Cummings! (blush). I did like the love story, but the whole pregnancy angle seemed a bit too forced, and the whole mystery being solved at the end in one full swoop was a bit much. Still, it was nice to see O'Donnell acting before he sold himself out and started doing dreadful movies.

Spoilers herein.Pretty tepid and predictable, just like the society the story disparages.And pretty ordinary in the way it exploits the themepark charm of Ireland. That's a recurring problem with Pat O'Connor who seems doomed to his Darby O'Gill world. But it has three strong performers, and in this case those alone are worth watching. Incidentally those three are to be reunited for the big budget "Phantom of the Opera."Of these three, Minni Driver impresses. She has that young abandon and commitment to the role that is almost virginal in its approach. Like Emily Watson in "Waves" or Kate Winslet in "Creatures" or Cate Blanchett in "Lucinda." It has something to do with fearlessness and is most effective when the character is supposed to have that same sense of tentative inhabitation of strange person.Often, that ability to risk wears off, and it appears to have with Minnie. But still...Another of these three has made a career of sleazy characters. I find Cumming's energy pretty fascinating, especially the areas of the character where he places that energy. These characters are always sprung, dramatic. How sweet to know that Cumming really did walk away with Saffron when this was over.Ted's Evaluation -- 3 of 4: Worth watching.