I rather took to this film, in a way. Particularly in the early sections where Turner has just been transported back. Back indeed to that staple era of American idealistic nostalgia; the 1950s... or more accurately, 1960, still effectively the 1950s in terms of culture and music, for example, but with Kennedy on the horizon.
We are presented by Coppola (big time player in U.S. film, turned oddly to smaller fry since 1979...) with a view of the picket fence securities of this America nearly as tempered by nostalgia as so many other films depicting this era. A shame we don't perhaps get more of the music... doo-wop and the likes of Dion, as that stuff is sublime.
Certain elements are glossed over and presented a little too easily and predictably; the 'beatnik' figure, Michael Fitzsimmons, played by Kevin J. O'Connor, is involved in some fair but overdone scenes with Turner; trying to convey the subculture with an archetype. It is almost played as comedy, which is a little smug with its 1980s hindsight (who wants that?).
The acting is fairly competent overall; the problem of having the same performers playing both ages younger and older does arise. Principally with Ms. Turner's problematic central role of "Peggy Sue". She does not really look 18 or 43, but in both parts pretty much the thirty she was when the film was made. There is little effort made with make-up to convey this; and there is thus a credibility problem with this rather mature 'teen' going around uncommented upon in the 1960 sequences. It may be a niggle, but it is a tangible one I feel. Kathleen Turner is very good however in portraying this difficult part; in conveying the emotions and mind set of such a person, thrust into a real _Twilight Zone_ situation. It's perhaps a shame there's not more depth given to the present-day part of the film, in able for one to get to know Peggy better. I've not seen many of Turner's films, but I gather she is one of the most impressive of 1980s leading ladies; there's certainly scope here to applaud her performance in a role that could have gone badly wrong. That brings me very nicely onto Nicolas Cage and his "Charlie Boy" character. Put simply; a misfiring piece of acting and conception. The part is farcically cliched; the wide-eyed, joking, common guy turned 'heart-throb' of small American towns in the mythologised, eulogized 1950s era. An air of total absurdity is added by Cage's adopting a grating, ludicrous voice; that itself should render the character a laughing stock. Turner is well and truly 'too good' for this buffoon; a teenager who is meant to be charming, folksy and endearing, yet who just plain annoys.
Oh, and I didn't notice Jim Carrey at all; only found out he was in it through this site. _Peggy Sue Got Married_ is a very pleasant little film, but it is too little, one can't but help feel. The potential was there with this scenario to make a magnificent film, yet the 'fairly good' quality is settled for. Tricks are missed, gags are passed up... too much time focusing on that bloody Charlie character. Something more radical, with Turner really deciding to change her destiny would have interested me more. One hell of a dark film could have been made with the implications of this plot - time travel is so ill-served by films, generally. It's a shame Turner is never really tested and prone to major dramatic or comic conflict in the film. There are moments and scenes that are well thought of in this way - some of the stuff with the 'lovable nerd' type played by Barry Miller, the odd bit of Turner cheating with her foreknowledge of events - but really not enough stuff central to the film. Having the farcical (but not entirely played as such) scenes of the time travel 'lodge' end up in absurd failure and then black comedy, as Turner realises she is stuck in the time, to live out her life again, would have been *far better*.
As I say, this film missed numerous tricks. But indeed as failures go, it is a very passable viewing experience, besides the cringeworthy nature of Cage. It is good to watch a mainstream film that has a non-usual plot (well, post-_Back to the Future_) and genre. Yet, the genre is too subordinated to the earnestly romantic comedic (I use that word very loosely). This film could do with less of the traditional and more of the surprising. _Peggy Sue_ is enjoyable, if predictable viewing, that leaves one in mind of its missed chances and yet there one is given to a lingering favourable impression of the thing.
Rating:- *** 1/2/*****
We are presented by Coppola (big time player in U.S. film, turned oddly to smaller fry since 1979...) with a view of the picket fence securities of this America nearly as tempered by nostalgia as so many other films depicting this era. A shame we don't perhaps get more of the music... doo-wop and the likes of Dion, as that stuff is sublime.
Certain elements are glossed over and presented a little too easily and predictably; the 'beatnik' figure, Michael Fitzsimmons, played by Kevin J. O'Connor, is involved in some fair but overdone scenes with Turner; trying to convey the subculture with an archetype. It is almost played as comedy, which is a little smug with its 1980s hindsight (who wants that?).
The acting is fairly competent overall; the problem of having the same performers playing both ages younger and older does arise. Principally with Ms. Turner's problematic central role of "Peggy Sue". She does not really look 18 or 43, but in both parts pretty much the thirty she was when the film was made. There is little effort made with make-up to convey this; and there is thus a credibility problem with this rather mature 'teen' going around uncommented upon in the 1960 sequences. It may be a niggle, but it is a tangible one I feel. Kathleen Turner is very good however in portraying this difficult part; in conveying the emotions and mind set of such a person, thrust into a real _Twilight Zone_ situation. It's perhaps a shame there's not more depth given to the present-day part of the film, in able for one to get to know Peggy better. I've not seen many of Turner's films, but I gather she is one of the most impressive of 1980s leading ladies; there's certainly scope here to applaud her performance in a role that could have gone badly wrong. That brings me very nicely onto Nicolas Cage and his "Charlie Boy" character. Put simply; a misfiring piece of acting and conception. The part is farcically cliched; the wide-eyed, joking, common guy turned 'heart-throb' of small American towns in the mythologised, eulogized 1950s era. An air of total absurdity is added by Cage's adopting a grating, ludicrous voice; that itself should render the character a laughing stock. Turner is well and truly 'too good' for this buffoon; a teenager who is meant to be charming, folksy and endearing, yet who just plain annoys.
Oh, and I didn't notice Jim Carrey at all; only found out he was in it through this site. _Peggy Sue Got Married_ is a very pleasant little film, but it is too little, one can't but help feel. The potential was there with this scenario to make a magnificent film, yet the 'fairly good' quality is settled for. Tricks are missed, gags are passed up... too much time focusing on that bloody Charlie character. Something more radical, with Turner really deciding to change her destiny would have interested me more. One hell of a dark film could have been made with the implications of this plot - time travel is so ill-served by films, generally. It's a shame Turner is never really tested and prone to major dramatic or comic conflict in the film. There are moments and scenes that are well thought of in this way - some of the stuff with the 'lovable nerd' type played by Barry Miller, the odd bit of Turner cheating with her foreknowledge of events - but really not enough stuff central to the film. Having the farcical (but not entirely played as such) scenes of the time travel 'lodge' end up in absurd failure and then black comedy, as Turner realises she is stuck in the time, to live out her life again, would have been *far better*.
As I say, this film missed numerous tricks. But indeed as failures go, it is a very passable viewing experience, besides the cringeworthy nature of Cage. It is good to watch a mainstream film that has a non-usual plot (well, post-_Back to the Future_) and genre. Yet, the genre is too subordinated to the earnestly romantic comedic (I use that word very loosely). This film could do with less of the traditional and more of the surprising. _Peggy Sue_ is enjoyable, if predictable viewing, that leaves one in mind of its missed chances and yet there one is given to a lingering favourable impression of the thing.
Rating:- *** 1/2/*****