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Saturday, November 17, 1984 Austin American-Statesman E3 just the Way You Are' is yet another unremarkable film Review 4 V-- The performances are all goodT enough, and the film has a quality -look to it The best moments in it though, come in the brief ance by Robert Carradine. His last -film was Revenge of the Nerds" and his performance here as good-looking, suave single shows how a good actor can make almost unrecognizable from', one role to the next without ing makeup. Just the Way You Are, rated PG; at the Capital Plaza and the film more men make goo-goo eyes at Susan and vice versa than in half a dozen similar movies. After a brief, superficial encounter with a young skier she gets serious with another man, the photographer played by Michael Ontkean. Eventually she has to summon the courage to tell him the truth, and those scenes play with all the phony pathos we have come to expect from similar films.
Hollywood does not have a great record in its dealings with disease standing young stockbroker, Susan decides to turn a European concert tour into a vacation and a fling at a posh ski resort She also figures out a way to get rid of the cast and appear with the aid of a sympathetic doctor, she has a plaster cast put on over the leg in place of the brace and thus looks like any of hundreds of temporarily disabled snow buffs. DURING THIS LONG stretch of i From left, Michael Ontkean, Kristy McNlchol and Catherine Salviat star In Just the Way You Are. and handicaps. Aquarius. SMC SB.
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1 1 1 ire By PATRICK TAGCART American-Statesman Staff Perhaps the most remarkable thing about Just the Way You Are is that it is the first English-language film to be directed by Edouard Molinaro, director of the delightful La Cage aux Folles and its very funny sequel Until you see the new film, you might wonder why the studio chose not to exploit Molinaro's reputation in the ads. La Cage is, after all, the highest grossing European film to have yet hit the United States. But once you've seen this strange, slowly paced and emotionally flat iilm, the studio's decision not to associate the new film with La Cage aux Folles seems pretty sensible. To have done so would have been to invite furious audience charges of ripoff. The two films are nothing alike.
TEE SCREENPLAY by Allen Burns finds Kristy McNlchol in the central role of a talented New York flute player who has a small but noticeable physical abnormality. As a result of complications surrounding a childhood case of encephalitis, Susan wears a brace on her leg. It seems strange that only now, as a young adult, she is having problems coming to terms with that brace and its effect on her emotional life, but that's one of the conceits of this film we have to live with. Engaged to a square but under- Review 'Garbo9 has classy look, sappy plot By PATRICK TAGGART Amarlcan-Statetman Staff Garbo Talks isn't as corny as it might have been under a different director, but it still manages to pack in the schmaltz. Sidney Lu-met a filmmaker known for style, wit and a knack for satire directed, and the film has a spry-ness and elegance that holds our interest most of the time.
But when it's all said and done, Garbo Talks is still one of those movies about a person dying of a non-disfiguring Hollywood disease. (It's a brain tumor in this case.) This movie has a novel twist, however, in the way that the legendary actress Greta Garbo is brought into the proceedings (but not in person), and it gets a whale of a performance from star Anne Bancroft THE CHARACTER played by Bancroft is Estelle Rolfe, an eccentric middle-aged divorcee who watches old Garbo movies and winds up in Jail a lot for protesting various political and social injustices. When a group of New York construction workers yell obscenities at a woman walking below, Estelle rides up to the top of the building to confront the catcallers. She leaves a pretty good account of herself, too. This behavior is a big problem for Gilbert Rolfe (Ron Silver), Es-telle's accountant son, who has to put up with her as well as a whiny, spoiled wife at home.
When mom's condition is finally diagnosed, she expresses a wish to meet her idol Garbo, and Gilbert makes her wish his command. It's not easy; he has to take another Job and his wife leaves him. The wife leaving is no huge problem; Gilbert has already fallen for the lovely co-worker played by Catherine Hicks. A lot of this film is simply wasted motion, and Lumet would have been wise to cut entirely the scenes with playwright Harvey Fiersteln, as a Fire Island vacationer, and Dorothy Loudon as a photographer's agent They contribute almost nothing, and in the case of the Loudon sequence, only show how embarrassing a failed comedy sketch can be. THERE'S ALSO NO getting around the superficiality of Es-telle's character.
As written by Larry Grusin, Estelle is so thinly fleshed out that we dont really feel much for her even if Bancroft acts her big, professional heart out trying to make us. It is much easier to like Gilbert, especially as played by Silver. It's about time this intelligent controlled actor got a lead part, and he proves he Is more than able to handle it Garbo Talks, rated PG-13 for profanity; at Lakehills, Highland Mall Cinema. TEMPORARILY BROYHILL. LA-Z-BOY.
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