Reviews

This foreign film is not to be missed, but watch the first movie, Jean de Florette first. And watch the subtitled version if you don't speak French.

In this film, a grown up Manon confronts the neighbors who destroyed her father and caused the pain, hardship and devastation wrought by her family's enemies when she was a child. Having lived as a mountain recluse for an unspecified period of years after the loss of her family farm and the death of her father, she is provoked to wreak vengeance, and with satisfaction, comes a surprising revelation about the history of her parentage. Please see my comments on Jean de Florette at http://comments.imdb.com/CommentsShow?91288-10

When I first watched this film, I was angry at the end because it left absolutely everything unresolved. Only after seeing Manon of the Spring did I understand why Claud Berri did that to me.

The two films should be considered two halves of the whole, not really thought of as a film and a sequel. By the end of the second half, the viewer has been made to feel and be convinced that there is hope of justice in the world. One cannot escape the fact that evil actions have consequences, even if it takes a generation or two before they become apparent. That is the underlying message of this pair of films. Never, in any play, film or novel have I seen this truth portrayed more convincingly.

The performances of Ives Montand and Gerard Depardieu in Jean de Florette are magnificent, and the story sets the viewer up for the resolution of the conflicts and the surprising revelations of the sequel, Manon of the Spring.

This pair of films should not be missed. If you have a choice, I recommend the subtitled version over the dubbed version for non-French speakers.

WATCH THESE FILMS!

This movie demonstrates what happens when the rare, magical perfect combination clicks together. Duvall, Beresford and Foote blended their talents marvelously and managed to fool the critics by producing a film that is absolutely one of the best ever. Its draw at the box office and on video may have surprised the critics, but is understood by those who place a high value on well-written and well-acted drama. I have nearly worn out my VHS copy from multiple viewings but I have never worn out the experience. The film is uplifting because it is all about unhoped hope finding fulfillment.

The movie combines tragedy and pathos with love, warmth and redemption in a manner that rarely occurs in a Hollywood production. To top it off, it does it so that there is not a phoney or contrived moment in the picture. Excellent and somewhat surprising supporting performances came from newcomer Tess Harper (discovered for this film by Duvall and Beresford) Ellen Barkin and Betty Buckley. Brimley (impossible to dislike in any role) is perfect as Buckley's manager.

One of the best scenes in the movie occurs when the young band drops over to "just say howdy" to the ex-singer. Harper is guarded and protective at first, but the pure hearts and openly embarrassed intent of the young men quickly win her and the viewer over. It is a touching and beautiful scene. It reminds you that there is still decency and humility among American youth (maybe we should all visit east Texas once in a while, although you can easily find it in most parts of rural USA).

No action flik this. The best word I know to describe Tender Mercies is "heartwarming." If you have not yet watched it, by all means do yourself a favor: beg, borrow, rent or steal a copy without delay. You'll never think of Duvall or Texas or country music the same again.

John Wayne managed to save his best performance for last. Not only was this his greatest acting achievement (surpassing The Cowboys in which he was also very, very good) it is also one of the best films ever produced in the Western genre. This movie benefitted from an excellent script and superb casting, but was brought to perfection by the sterling performances of three great stars, Wayne, Bacall and Stewart.

Wayne's interactions with Stewart, Bacall and Howard are moving and powerful. The depth of character in Books is set in contrast to the shallowness and opportunism of others, particularly Dobkins and Serepta, but also Cobb. Becoming, briefly, the father figure needed by Gillom, Books more than makes up in his last week of life for the "havoc" he brought to "society" in his earlier life (as viewed by Mrs. Rogers). Of course, part of the tension in the plot is created by the different evaluations Books and Rogers would assign to Books' life. Both stand in contrast to the view of that life held by Gillom and Moses.

Back in 1969, the Academy, realizing it had never appropriately honored John Wayne and fearful that time was running out to do so, gave him Best Actor for one of his weaker performances and poorer scripts. It is unfortunate his colleagues did not make up for that error by repeating the honor for what was truly a great performance in The Shootist. Nonetheless, the proof of the pudding is still in the eating, and the availability of The Shootist on tape and (hopefully) DVD will allow us to keep eating this one over and over.

John Wayne fans should be encouraging their non-Wayne-fan friends to see this movie. Respect for this great American would grow thereby.