![]() ![]() ![]() Without that last-mentioned turn, the film would have been little more than a very funny confection. And yet Daniels aces it, also bringing a bland Midwestern quality to his portrayal that makes Gil Shepherd’s eventual betrayal of Farrow that much more affecting. It’s hard to imagine the one-note Michael Keaton pulling off playing two similar yet very distinctly different roles, let alone looking like a Hollywood actor from the ‘30s. While Mia Farrow gives what might be her best performance, it’s Jeff Daniels who walks away with the film. But while those pieces, hilarious as they often are, tend to be little more than a kind of absurdist riffing, here he manages to interweave a decent amount of earned emotion with the absurdity and when he veers into sentimentality, it reinforces his critique of pop fantasies and comes with a bite. Perelman-type short pieces for The New Yorker to the screen. ![]() It’s Allen’s most successful attempt to translate the style of his S.J. In an initial viewing, Purple Rose can seem lightweight, in a charming and quirky kind of way. ![]()
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