Title: CAN SHE BAKE A CHERRY PIE?
Year of Release: 1983Director: Henry Jaglom
Genre: Comedy, Drama, Romance
Synopsis: A woman is abandoned by her husband, and finds love with a man she meets at a café.
Within a film history context: While there have been many films dealing with wives who leave their husbands, or unhappy marriages, movies which focus upon husbands leaving their wives have been much fewer in number. One of the most notable examples was James Whale's SHOW BOAT (1936). In this film, a woman is left by her husband due to his gambling losses, with another woman also abandoned by her husband, and falling into alcoholism. There is, though, a happy ending for the first woman who reconciles with her husband at the story's conclusion. THE MOON AND SIXPENCE (1942), directed by Albert Lewin, had a man leaving his wife at the film's start, becoming a painter, and involved in a complex series of events which lead to his downfall. In utter contrast, an exploitation tone was employed in Ken Kennedy's THE VELVET TRAP (1966). In this movie, a waitress is raped by the cook at the diner where she works, and later marries a man who frequents the diner, only to abandon her the morning after the wedding. A tale of a woman's road to ruin, it is notable for the woman's moral descent, and that the male characters were largely unsavory without any redeeming facets.
Within a film history context: While there have been many films dealing with wives who leave their husbands, or unhappy marriages, movies which focus upon husbands leaving their wives have been much fewer in number. One of the most notable examples was James Whale's SHOW BOAT (1936). In this film, a woman is left by her husband due to his gambling losses, with another woman also abandoned by her husband, and falling into alcoholism. There is, though, a happy ending for the first woman who reconciles with her husband at the story's conclusion. THE MOON AND SIXPENCE (1942), directed by Albert Lewin, had a man leaving his wife at the film's start, becoming a painter, and involved in a complex series of events which lead to his downfall. In utter contrast, an exploitation tone was employed in Ken Kennedy's THE VELVET TRAP (1966). In this movie, a waitress is raped by the cook at the diner where she works, and later marries a man who frequents the diner, only to abandon her the morning after the wedding. A tale of a woman's road to ruin, it is notable for the woman's moral descent, and that the male characters were largely unsavory without any redeeming facets.
Matters were of an entirely contrary nature in BED AND BOARD (1970), directed by Francois Truffaut. This time around, a married man with a young child embarks on an affair with a woman. His wife discovers his indiscretion, and will not share a bedroom with him, this leading to him moving out of their apartment, and leaving his wife. In a more domestic, realistic vein than the previous entries, it was another of the director's explorations of male-female relationships. Roman Polanski's TESS (1979) charted a young woman's life odyssey, with her husband deserting her upon discovering her past relationship with an insidious man who left her pregnant. Set in the late 1800s, it was an artistic triumph for the director, and a box office success. HEAD ON (1980), directed by Michael Grant, was the tale of a married woman and her lover, and their kinky sexual exploits. Her shenanigans with her lover are discovered by her husband in a most unexpected manner, leaving her as a result. CAN SHE BAKE A CHERRY PIE? was in its own league in terms of its treatment of the husband leaves wife theme, with original touches not evident in the other movies previously mentioned.
It is very slightly comparable to THE VELVET TRAP with consideration to its irreverent narrative, but diverts greatly with its lighter, comical atmosphere. THE VELVET TRAP is closer to melodrama and tragedy than CAN SHE BAKE A CHERRY PIE?, which, while having dramatic segments, does not become bogged down in heavy scenes. The abandonment of Zee is depicted in a scene at the beginning of the film, outlining how her marriage has gone awry, and that her husband is leaving her. The viewer follows her as she learns to move on, and meets Eli, who changes her life. While their love affair is humorous and screwy, it lacks the furtiveness of the characters in HEAD ON who play dangerous games which not only have an impact on themselves but also, others. Other aspects of the movie are also noteworthy in hindsight.
In CAN SHE BAKE A CHERRY PIE? Zee and Eli are only out to become closer to each other, and their blossoming union, warts and all, is what the picture concentrates on. They have more than enough problems and issues to deal with than having extra participants, or third parties, intrude on their relationship. While there is the introduction of a third parties for a small time in the movie, this is only to reaffirm their union to one another, instead of causing more heartache. With its domestic milieu it shares elements with BED AND BOARD in the backwards and forwards style of storytelling which resembles real life. People fight, make up, fight, and make up again which makes for insightful viewing. A film that explores the husband leaving wife theme in an interesting manner, CAN SHE BAKE A CHERRY PIE? is an entertaining movie with many thoughtful moments.
Overview: Henry Jaglom has directed twenty-one films in his career over forty-five years, and helming an extra segment in a multi-story movie. His movies are character-driven stories that explore various situations in depth, mainly with reference to the characters and their feelings. Mr Jaglom's first film, A SAFE PLACE (1971), was a fantastical film that centered around a young woman, and her vision of the world. Starring Tuesday Weld in the lead role with Jack Nicholson in support, it was a surreal, original viewing experience. Next came TRACKS (1976) with Dennis Hopper. A view of life seen through the eyes of a Vietnam veteran, and his relationship with a young woman, were clearly delineated by the director in this intense, disturbing movie. ALWAYS (1985) followed a married couple's plans to divorce, but a family 4th of July celebration makes them question their decision. With Mr Jaglom both directing and starring in the lead role, it was a revealing, thoughtful movie. Mr Jaglom worked with an all-female cast in EATING (1990) with an ensemble including Frances Bergen, Mary Crosby and many others, in a story about women talking about their lives at a birthday party. DEJA VU (1997) charted the love story between a store proprietress and an Englishman, with a mostly British cast including Vanessa Redgrave, Anna Massey, and Rachel Kempson in her final film role. OVATION (2015) centred around a theatre actress who falls in love with a smooth television star. Mr Jaglom's most recent film, TRAIN TO ZAKOPANE (2017) was an adaptation of his own stage play, dealing with racism and anti-semitism in Europe of the 1920s and beyond. CAN SHE BAKE A CHERRY PIE? was Henry Jaglom's fourth full-length movie, and a sound example of his character-based narratives.
CAN SHE BAKE A CHERRY PIE? is a movie that takes its time in making clear to the audience the feelings and emotions of its characters. One gets to know the protagonists on an intimate level, the dialogue and action, and of course, the performers, assisting in this. CAN SHE BAKE A CHERRY PIE? is not a movie where there are mysteries about the characters and their motives. The suspense level in this arena is very low, and meant to be this way, as it is not that kind of movie. This is a feature of Mr Jaglom's other efforts such as EATING, where people talk about themselves, their lives, what they like, what they dislike, which gives the movie a genial, friendly atmosphere. While the characters in the film admittedly talk a lot, it is never boring, with the viewer gaining valuable information into what makes the people in the movie tick. This, though, is the double-edged sword of CAN SHE BAKE A CHERRY PIE? On the one hand, the unrestricted nature of the film works well, but it also exposes certain deficiencies that could have improved the final product if present.
In the opening scenes we see that Zee's husband is leaving her, but we are not given much information as to exactly why they drifted apart, and why he elected to separate from her. It would have been helpful to have had some flashbacks possibly showing them in happier times, contrasting with their marital undoing. While small scenes showing Eli's ex-wife and child were good, it is the only time we see them, as with Zee's husband. It is admirable that CAN SHE BAKE A CHERRY PIE? showcases Zee and Eli greatly, but adding scenes with her husband returning to their apartment to pick up something he forgot, or Eli's wife ringing him at an inopportune moment for him, would have provided further emotional depth to the characters and their plights. What is missing from the film is the material that would have given it a further ring of truth.
An associated issue with the movie is that is lacks an aura of tragedy in its proceedings. Zee and Eli are likable together, but there is not a sense of all or nothing to them. Having Zee being tempted by Larry, though, was interesting as it provided a counterpoint to Zee and Eli together all the time, but nothing much came out of this. If the film contained more misery for them, splitting their union again during the course of the narrative, it would have been more emotionally striking. As it is, the picture is more in a jokey vein, without greatly compelling events to make the audience feel more for its characters. Despite these ellipses, CAN SHE BAKE A CHERRY PIE? should be recognized as a satisfactory movie for director Henry Jaglom, and one of his most appealing motion pictures.
Acting: The acting in CAN SHE BAKE A CHERRY PIE? is one of its strongest assets. As Zee, the woman whose husband leaves her at the film's start, Karen Black is in one of her best roles. She makes the beleaguered but humorous Zee hers, despite the film sometimes being too talky, and ensures that her character is believable at all times. As Eli, Zee's new love, Michael Emil is a perfect match for Miss Black, their odd couple pairing appearing unlikely on the surface, but their acting making it all work. In the case of Larry, the pigeon-handler, Michael Margotta shows another string in his acting bow. Generally cast in intense roles, here things are of a different nature. In CAN SHE BAKE A CHERRY PIE? Mr Margotta exhibits a quieter aura as the man whose charm causes relationships to become shaky all of a sudden. Just seeing Mr Margotta bring out the insecurities of another man without doing much, except show off his pet pigeon to the other man's girlfriend is one of the movie's highlights. The final player of note is Frances Fisher as Larry's girlfriend Louise. With very little dialogue spoken during the movie and mainly using her face to express emotion, Miss Fisher's Louise was a subtle surprise in the film, and, likewise with Mr Margotta, it would have been great to have seen more of her in CAN SHE BAKE A CHERRY PIE?
Soundtrack: CAN SHE BAKE A CHERRY PIE? has an eclectic soundtrack. The opening credits feature diegetic use of the tune 'Can She Bake A Cherry Pie?' performed by a band in the park as Zee passes by, and continues in a non-diegetic basis until the end of the scene. The song is also used at the end of the movie during the closing credits with Zee and Emil walking on the street. In addition to this, the closing credits also utilize the Jerome Kern song 'The Way You Look Tonight' with home movies of Emil's family playing as the movie concludes. Other uses of music in CAN SHE BAKE A CHERRY PIE? are also interesting. There are segments of Zee singing at home and in the club, watched by Emil, which reveal information about her character. The concert which Zee and Emil attend, where the New York Philharmonic Orchestra perform 'Scheherazade', is an example of diegetic music which continues into the next scene, and is an allegorical comment on the characters, and their non-traditional romance.
Mise-en-scene: CAN SHE BAKE A CHERRY PIE? contains a vast amount of outdoor location filming, which gives the movie freshness and realism. Zee and Emil's café chats, walking together in the street, deep in conversation, and Larry's pigeon-handling sequences work well in the New York City streets. Indoor locations such as Zee's apartment, with its assortment of knick knacks and paraphernalia, is evocative of her state of mind, and turbulent personal life.
Notable Acting Performances: Karen Black, Michael Emil, Michael Margotta, Frances Fisher.
Notable Acting Performances: Karen Black, Michael Emil, Michael Margotta, Frances Fisher.
Suitability for young viewers: No. Frequent coarse language, adult themes.
Overall Grade: C
Link: IMDB Page
Trailer
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