Curtis
Hanson took his first blind bungee jump of a directorial chance with the raw and
noire period whodunnit, 1997s LA Confidential. Before then he’d never made
a particularly great film, but his box-office track record was solid. With In
Her Shoes he trades in his hush-puppies for bungee-boots for another wild foray
into the unknowable. Taking on the story of a pair of pugilistic sisters - Maggie
(Cameron Diaz) the blonde and prettier of the two, but a card carrying boozey
floozey with a learning disability, and Rose (Toni Collette) the older, more responsible
and resentful one. Unavoidable question: has Curtis Hanson (a man who once directed
“cutjobs” - prostitutes surgically altered to resemble Hollywood starlets)
made a "chick flick?" Not so much really. Yes women will find it more
entertaining than men, but as men have also been know to take an interest in women
- they’ll love it too. Hanson purposely keeps the relationship dynamics about
"siblings" more so than sisters, so unless you’re and only child,
you’ll be able to relate.
With
every frame it becomes increasingly clear that Hanson is a consummate craftsman,
and a glance back at the courageous choices he’s made since LA Confidential
has made him a top-flight director. And the trust he coaxes from his actors is
further evidence. He convinced Collette to lay on at least 25 pounds ( which couldn’t
have been easy - as she was a slinky little minx for her hilarious turn in The
Last Shot - weighing in at a buck o five tops.) He’s also persuaded the 71
year old Shirley MacLane into no make-up, no-wig and almost no acting. I’ve
never seen Maclane this understated. She’s given us glimpses of minimialism
before, but she’s usually about as understated as Charles Nelson Reilly.
And then to watch this thing tick once he’s concocted it. One of the more
interesting films of the year.
Credit
must right away go to the smart and daring writing of novelist Jennifer Weiner
and Susannah Grant (Erin Brokovich) who adapts. The film jumps right in with both
feet as we find Diaz, panties half mast and engaged in sexual congress at her
10 year high school reunion. Before the night is through she has puked and passed
out at the party and the long-suffering Rose has been summoned (as she has many,
many times in the past) to pick-up the pieces and get them home. Thus the first
act plays out as Diaz’ virtually unemployable party doll moves in with Rose
and starts sponging away. Ever approaching that point when her shiftless party-girl
lifestyle sours quickly from fun and charming to sad and pathetic. Meanwhile a
generally despondant Collette plays a somewhat successful attorney who is suffering
through the rigors of a doomed office romance, and it's not helping to have her
tiddly little sister around. It’s not long before the sisters crosscut lifestyles
turn them from odd couple to flawed couple. Then soon the inevitable falling out
after a particularly bone-jarring event that strikes too close to home for Rose.
The second act begins as they seperate.
The
story, deconstructed as such, doesn’t sound particuarly entertaining - but
amid the small moments and fine details a world takes shape that is almost too
recognizable - and I don’t know that either actress has done more powerful
work. Particularly Diaz, whom I would call a revelation had that not been said
way to many bloody times. So as Maggie makes her way into the world she makes
a fortuitous discovery. Neither sister was aware that they had a living maternal
Grandmother and once Maggie makes this find she lights out for Florida like a
lost flamingo. Grandma Ella is living in a retirement community and is at first
quite delighted to be re-united with a Granddaughter that she was kept exiled
from by an uptight son in law (Ken Howard). Again MacLane is a model of acting
efficiency here - not a calorie wasted. She goes about her day and hides the hurt
she still harbors beneath a business-like manner. Hopefully she hasn’t subtled
herself out of a supporting actress nom. As an aside I just want to hint at a
scene involving a 91 year old character actor vet Norman Lloyd. The gentleman
has a moment with Cameron Diaz that I won’t spoil, but I dare predict will
bring a tear bubbling from the depths of even the crustiest film critic. I’m
not afraid to admit that I cry in movies - and I’m also not afraid to admit
that I like to cry in movies. In those salty moments of dissolve I feel the most
close to my maker. Bless Mr. Hanson for stepping aside and letting a moment like
this shine.
As
the period of the sisters speration grows so does the meaning of the films title,
as the two increasingly find themselves in circumstances that had seemingly been
pre-ordained of the other sister. It's and interesting phenomenon the way they
take-on each others ways. I won’t say the film is flawless, there was a scene
that involved the sisters mother that didn’t ring quite right to my ear -
then again it was just kind of a sideswipe, not a deadening blow and thus had
no effect on the overall feel of the film. Obviously in a film with a act-construct
such as this, the final act begs concilliatory scenes. But everyone involved should
be congratulated for sidestepping the maudlin and making it work very satisfactorily
- with just the right amount of sentiment. Collette has a penchant for playing
damaged women and always manages to get across the perfect amount of sentiment
(see About A Boy, The Sixth Sense) I guess that's why I was so struck with Diaz'
whom - mostly because of her film choices - has yet to mature into a first rate
actress. She had a few moments in Something About Mary and particularly My Best
Friend's Wedding that showed a world of promise that has not exactly been realized.
In Cameron's Shoes is now an actress of some note. Everyone involved does admirable
work and that goes double for Curtis Hanson.
