There is something irresistible about Peter Bogdanovich returning to the scene of his greatest critical triumph and many of the key cast back, notably Cybill Shepherd and Jeff Bridges but also Tim Bottoms, Cloris Leachman and Eileen Brennan.
The original was about a universal theme - young people in a small town. This one is kind of universal - middle aged people who feel they've stuffed up their lives - but less identifiable, I feel. Jeff Bridges has made a fortune, but is facing bankruptcy. Cybill Shepherd has lost a child.
It's actually fascinating to view this through the prism of Bogdanovich's life - making this with his then ex Shepherd, after having stuffed up his career, and lost someone close to him.
The original was more of an ensemble piece, that gave several people a chance to shine. This it more a star vehicle for Shepherd and Bridges, particularly the latter, who is really the protagonist. The film's narrative arc centers around his mid life crisis.
There are two excellent support roles - Annie Potts, who steals the film as Bridges' wife, and Tim Bottoms, who is moving as the broken-headed Sonny. Come to think of it, Bridges and Shepherd are excellent two - both are better actors than in the original, particularly Shepherd; she's warmer, funnier. It's really good acting.
When the film relaxes it's a pleasure to be around - good actors in scenes that have room to breathe. Some of it is moving - Bottoms' mental state, the fact Shepherd lost a child.
But Bogdanovich made it without Polly Platt or Larry McMurtry (he did the novel but not the script). Bogdanovich was always a second rate screenwriter and we have scenes full of on the nose dialogue and silly bits. Too often he goes for the gag rather than truth, such as scenes with Bridges and his kids.
To be fair the story isn't as strong. It's really hard to care too much about Bridges' re-awakening feelings for Shepherd when he's married to Potts who is so clearly the perfect woman for him. Also he cheats on her in the movie - it seems comic, unmotivated, which I guess is fine, it's just hard to care. You really cared about the romances in the original because Bottoms loved Shepherd and Leachman developed feelings for Bottoms, and Eileen Brennan clearly still had feelings for Ben Johnson, and Bottoms and Bridges looked up to Johnson.
Brennan has barely anything to do, Quaid has the one comic note ("I'm going to prison"), Leachman's role is mostly "there there"... why not give these actors more to do?
Maybe this couldn't have been good but it could have been better. Don't write scripts, Peter!
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