MESSAGE IN A BOTTLE (1999)

Title: MESSAGE IN A BOTTLE

Year of Release: 1999

Director: Luis Mandoki

Genre: Romance, Drama

Synopsis: A newspaper reporter finds a love letter in a bottle on the beach, and seeks to find its author.

Within a film history context: Movies with a female journalist lead character have been plentiful in cinema history. One of the first was Harry Beaumont's DANCE, FOOLS, DANCE (1931). A young woman becomes a reporter after the family fortune is wiped out by the stock market crash, and is led to investigate the death of a fellow journalist, her brother having a part in this crime. With Howard Higgin's THE FINAL EDITION (1932), a resourceful reporter seeks to solve the murder of the police commissioner by becoming involved with a crime syndicate mobster. Different was A SHRIEK IN THE NIGHT (1933), directed by Albert Ray. A male, and a female reporter from different newspapers compete strongly for stories, but team up to solve murders being committed in an apartment complex. Michael Curtiz's FRONT PAGE WOMAN (1935) had Bette Davis as a feisty reporter who competes with a man at a rival paper for stories, but is slanted toward romance and comedy. A more period feel was present in A WOMAN REBELS (1936), directed by Mark Sandrich. In late 1800s London, a young woman with a messy personal life becomes the editor of a straitlaced magazine, and adapts it to her more progressive feminist ideals. Frank Capra's MR. DEEDS GOES TO TOWN (1936) was about a man who inherits a fortune, and those who try to fleece him. It features a resourceful female reporter who at first uses Mr Deeds for her stories, but gradually falls for him. 

With Michael Curtiz's FOUR'S A CROWD (1938), a female journalist, played by Rosalind Russell, seeks to save a newspaper in danger of being closed, and subsequently becomes enmeshed in romance. Miss Russell again played a journalist in HIS GIRL FRIDAY (1940), directed by Howard Hawks. In this movie, a female journalist wants to remarry, but the main obstacle is her ex-husband, who is the editor of the newspaper where they both work. Frank Capra's MEET JOHN DOE (1941), on the other hand, had Barbara Stanwyck as a columnist who creates a fictional man dissatisfied with society and its ills, and is forced to find someone to fill this role when this becomes a hot commodity with the reading public. Totally different in tone was THE CORPSE VANISHES (1942), directed by Wallace Fox. A journalist investigates the disappearance of young brides who are being used by a scientist for an insidious purpose, her life coming under threat in the process. George Stevens' WOMAN OF THE YEAR (1942) starred Katharine Hepburn, and Spencer Tracy as journalists who wed, but their married life is made difficult by their differences of opinion on many matters. It was the first of many movies made by the famous screen duo between 1942, and 1967. 

William C. Thomas' BIG TOWN AFTER DARK (1947) was a film noir with a devious female reporter trying to cheat her uncle of money, but stopped in her quest by another female journalist, and the publishing company's editor. A female journalist was also investigating something in FOLLOW ME QUIETLY (1949), directed by Richard Fleischer. A series of murders of women take place, with a police lieutenant failing to make any inroads, but the reporter does her best to get to the bottom of the truth. Into the late 1950s, Lewis Allen's ANOTHER TIME, ANOTHER PLACE (1958) focused upon a female reporter during World War II, and her many romantic entanglements both in the United States, and Britain. Fast forward into the mid-1960s, with J. Lee Thompson's JOHN GOLDFARB, PLEASE COME HOME! (1965), a journalist is thrown into intrigue, and the thick of things in this Cold War comedy. 

The 1970s, as with previous decades, also had varied depictions of female reporters on screen. SISTERS (1973), directed by Brian de Palma, was about a reporter who witnesses a murder in an apartment block, and her difficulties in convincing others of what happened. SUPERMAN (1978), directed by Richard Donner, had one of the most famous female journalist characters ever on film - Lois Lane. Between her busy schedule as reporter for the Daily Planet newspaper, and romancing Clark Kent/Superman on the side, she was one of the most prominent female journalists captured on celluloid. Similarly strong was Kimberly Wells from James Bridges' THE CHINA SYNDROME (1979). A journalist assigned to investigate the goings-on at a nuclear power plant, she was part of the engrossing happenings in this potent movie. 

Sydney Pollack's THE ELECTRIC HORSEMAN (1979) had a rodeo star play out his adventures, with a television reporter only too willing to follow him in his exploits, with love also on the agenda. In THE CONCORDE...AIRPORT '79 (1979), directed by David Lowell Rich, a female journalist played a major role in this tale of aeronautical intrigue and suspense. Sydney Pollack's ABSENCE OF MALICE (1981) had a journalist who dug into a story, and caused issues in the process for the son of a man accused of murder, with many consequences for both herself, and the man she has put under tremendous strain. REDS (1981), directed by Warren Beatty, had a principal character who was a journalist in this story of American, and Russian politics. More sadistic in tone was Jean-Claude Lord's VISITING HOURS (1982). A journalist is pursued by a psychotic murderer who wants to see her dead, and a parade of violent events ensue whereby he tries to finish her off, but life makes matters strenuous for him. 

FROM A WHISPER TO A SCREAM (1987), directed by Jeff Burr, featured a historian recounting four stories of murder, and mayhem, to a female journalist in this horror anthology movie. James Brooks' BROADCAST NEWS (1987) highlighted a tough female journalist who motivated most of the action in this movie. With SWITCHING CHANNELS (1988), directed by Ted Kotcheff, a romantic situation occurs as with BROADCAST NEWS, but in this instance, the manager of a television network tries to intervene in the upcoming wedding of his ex-wife, and another reporter at the same station. In Tim Burton's BATMAN (1989) a female journalist is on the tail of the mysterious Batman in this box-office blockbuster. 

The equally action-packed NAVY SEALS (1990), directed by Lewis Teague, had a journalist embroiled in a secret mission involving missiles. Douglas Jackson's WHISPERS (1990) was about a female journalist pursued by a man who is trying to kill her at any cost, with many twists and turns along the way. UP CLOSE & PERSONAL (1996), directed by Jon Avnet, centered around a young television reporter, and her relationship with her former boss, the contrast in their professional lives the crux of this movie. MESSAGE IN A BOTTLE was a movie where the female journalist was a central character, thus allowing for an extensive portrait of the protagonist to be constructed for the viewer.

Theresa in MESSAGE IN A BOTTLE was front and center of the movie, in comparison to those where a female journalist was in support. It was similar to many of the films where a woman is on a mission, either to find out about something which has meaning to them, or investigate a mystery. This intrigue/mystery angle was also evident in THE FINAL EDITION, THE CORPSE VANISHES, FOLLOW ME QUIETLY, and DANCE, FOOLS, DANCE. MESSAGE IN A BOTTLE does not, though, follow the murder mystery story elements of examples such as THE FINAL EDITION, A SHRIEK IN THE NIGHT, and THE CORPSE VANISHES; instead, the mystery is delivered at a lusher pace, and in a less obvious manner. MESSAGE IN A BOTTLE has a leaning toward love and romance that the above examples did not explore. The presentation of the lead character is also of interest, in that she is natural in her manner, of a dreamier disposition. This sets Theresa apart from the hard-boiled female reporters in HIS GIRL FRIDAY, and WOMAN OF THE YEAR.

MESSAGE IN A BOTTLE explores how a woman becomes emotionally entangled in a romantic situation by finding a message in a bottle on a beach one day. This leads her to locating the author of a love letter, and the journey for the protagonist begins. The movie subsequently contains facets of films where a woman journalist, at first, utilizes a man for a newspaper story, then falls for him, in the tradition of MR. DEEDS GOES TO TOWN, MEET JOHN DOE, THE ELECTRIC HORSEMAN, and ABSENCE OF MALICE. As with MESSAGE IN A BOTTLE, all these movies have the female journalist suffer for using the main male character in the way they do, with the exception of THE ELECTRIC HORSEMAN but, in general, all is well by the conclusion. One of the most ethereal of the movies about a female journalist, MESSAGE IN A BOTTLE is an uplifting, entertaining picture.

Overview: Luis Mandoki is a Mexican director who has made movies both in his native Mexico, and in Hollywood. Mr Mandoki made several movies in Mexico, his first American film being GABY: A TRUE STORY (1986), starring Liv Ullmann. It was the real-life story a woman with cerebral palsy, and the struggles of her family in Mexico. Next came WHITE PALACE (1990), a May-December romance about a widower, and his relationship with an older waitress. 1993 brought the remake of the 1950 Judy Holliday vehicle, BORN YESTERDAY. A wealthy, brittle businessman hires a reporter to culture his girlfriend, who is a showgirl, but things take an unexpected turn when his other half becomes more sophisticated, and falls for the reporter in the process. More dramatic was WHEN A MAN LOVES A WOMAN (1994). It observed the relationship of an airline pilot and his wife, a school guidance counsellor, and the difficulties they face due to her alcoholism. Into the 2000s came ANGEL EYES (2001), Luis Mandoki's tenth movie. This was another film with a male-female relationship at its core, in this instance, exploring the union of a man with a female police officer. TRAPPED (2002) was a change of pace for the director, with a family ravaged by the kidnapping of their daughter, made even more tenuous as she is an asthmatic. MESSAGE IN A BOTTLE was Luis Mandoki's eight movie, and one of his best.

With MESSAGE IN A BOTTLE, Luis Mandoki has fashioned a movie that is enchanting to watch, permeated by a lightness of touch, and feeling of warmth. Even though the film is a romance, it is not syrupy, or mawkish in any way. Mr Mandoki has successfully crafted a picture which nicely adds to his oeuvre, which consists of other romantic stories about unconventional couplings that are not always threatened by outside forces, but, by the participants themselves. Their actions, desires, and feelings are what drive the narrative, obviating the need for unnecessary villains, or third parties. While there may be some characters who oppose the union, nevertheless, the focus is on the male-female central relationship. This is something present in WHITE PALACE, BORN YESTERDAY, WHEN A MAN LOVES A WOMAN, and ANGEL EYES. Other aspects of MESSAGE IN A BOTTLE are also pleasing to witness.

The presence of a suspense-mystery angle, in which both Theresa, and the audience, find out about Garret's past, works well, and in a leisurely manner. The mystery angle exists to deepen knowledge about the characters, without being just for the sake of having a mystery. It is also woven throughout the film, well-paced, and without bombarding the viewer with red herrings. Aside from this, having a tight concentration on the two lead protagonists works to frame the movie, which is an admirable feature of MESSAGE IN A BOTTLE. Seeing matters from another viewpoint, though, this move also slightly robs the film of taking advantage of its rich tapestry of supporting characters.

What is striking about MESSAGE IN A BOTTLE is the strength of its peripheral characters. It is to be said, in reality, that there is only so much time that can be devoted to other characters in movies than the leads. These supporting characters are all well-drawn and memorable, but one wishes that they had been used more than they were. Many examples abound in the film. Garret's former brother-in-law Johnny Land is employed effectively, but his anger is just so palpable, it would have been good to see more of him. Lina, Theresa's best friend, and colleague at the newspaper, would also have benefitted from further spotlighting. Likewise for Alva and Charlie, also from the newspaper, who are in a few scenes. Showing these characters more on screen would have given the opportunity to further deepen knowledge of the main characters. In spite of this, though, the positives definitely outweigh the negatives here. MESSAGE IN A BOTTLE is a well-made romance movie that ably grabs the emotions, and heartstrings in its soft-centered, irresistible way.

Acting: The performances in MESSAGE IN A BOTTLE assist to make it the engrossing entertainment it is. In the lead role of Garret, Kevin Costner adds another distinctive role to his credits. Generally depicted as an easy-going man with a casual manner unexpectedly finding love, here likewise occurs, but with a more quietly hardened edge that works. As Theresa, the young woman led in her quest to Garret, Robin Wright does wonders as the inquisitive reporter in search of a story, but also finding love. A sparkling actress who handles varied and difficult emotions with aplomb, her graceful personality fits the movie like hand in glove. As Garret's father Dodge, Paul Newman displays another string in his bow. One of the biggest Hollywood stars of the 1950s, 1960s and 1970s, and afterward, here he takes a supporting role, but adds a touch of experience, and knowing, that only enchants. 

Garret's former brother-in-law, Johnny Land, is given intensive treatment by John Savage. A man of searing emotions ready to erupt at any time, Mr Savage lends a sense of danger, unpredictability but also, surprising humility, in his wonderful part. As Lina, Theresa's best friend, and confidante at the newspaper, Illeana Douglas contributes magic with her inimitable sincerity, and expressive visage. Alva, Theresa's other friend at the paper, is made memorable by Viveka Davis. Although her role is small in size, Miss Davis makes it count as the dazzling Alva who shows more than a passing interest in Garret. Crusty newspaperman Charlie is given fitting handling by Robbie Coltrane. An actor with a humorous expression of disdain on his face, he makes Charlie a charming presence in his limited appearances. 

Soundtrack: Gabriel Yared's score for MESSAGE IN A BOTTLE fully suits what is taking place on screen, expressing a myriad of emotions in its subtle, stylish manner. Alternately tender, urgent, inspirational, and suspenseful, to name but a few adjectives, Mr Yared's compositions are always spot on, enhancing the movie's impact to a great degree. The film also features a number of songs from various artists which also further the movie's message of love and hope. 

Mise-en-scene: MESSAGE IN A BOTTLE has a wonderful grasp of mise-en-scene that perfectly complements what is taking place on screen. Cinematography by Caleb Deschanel beautifully captures both interior, and exterior locales with elegance, a careful use of colour that is in keeping with the film's dreamy tone. Production design is another winner in MESSAGE IN A BOTTLE. Jeffrey Beecroft's vision creates a milieu the characters inhabit which is realistic, artistic, and beautiful to witness. Garret's home, Theresa's apartment, Garret's workshop, for example, are all evocative, and speak volumes of the characters, and their way of life.

Award-worthy performances in my opinion: Kevin Costner, Robin Wright, Paul Newman, Illeana Douglas, John Savage, Viveka Davis, Robbie Coltrane.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

Trailer

HUD (1963)

Title: HUD

Year of Release: 1963

Director: Martin Ritt

Genre: Drama

Synopsis: A non-conformist clashes with his father for control of the family farm in Texas, and has other relationship issues with whomever crosses his path.

Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932) Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932) was no exception. Here Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.

SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938) a cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence that he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938) was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy theme prevalent.

Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald, with Mr Autry bringing justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this film, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.

THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again with Marilyn Monroe, and the repercussions of this union. Following from this film, HUD also considered the cowboy theme in a true to life, and thoroughly effective manner.

HUD could be classified as the finest character study of a rodeo cowboy ever filmed, the most in-depth in terms of the psychology of its complex but engaging protagonist, aided by a gallery of equally finely etched supporting characters. It lacks the romanticism that marks films such as BUS STOP and the later JUNIOR BONNER (1972), but added its distinctive flair by concentrating upon the dynamic personality of Paul Newman. While HUD was not deadly serious as a movie, and had its share of amusing and diverting moments, these were not treated as comic asides, instead naturally occurring from the characters, which makes the film all the more lifelike. 

HUD, also, did not fall into the trap of attempting to classify its central character as being either the good guy/bad guy stereotype, as he fell somewhere in between both categories. This was another feature that distinguished the character from earlier more benign rodeo cowboy incarnations from the 1940s, and further back in time. HUD, in its trailblazing manner, also opened the door for other movies to explore the rodeo cowboy theme in varying comprehensiveness, such as J.W. COOP (1972) and later films THE ELECTRIC HORSEMAN (1979) and URBAN COWBOY (1980), to name but a few examples, with many more spanning until the present day.

Overview: Martin Ritt was a distinguished director of dramas that explored humanity in an intimate, touching, but thought-provoking manner. His career spanned over thirty-three years, and twenty-six feature films. Making his directorial debut with 1957's EDGE OF THE CITY, which examined the relationship between a black man and a white man, it was the first of his cinematic forays into race relations. THE LONG, HOT SUMMER (1958) was a successful movie dealing with life in a steamy Southern town, notable for its pairing of Paul Newman and Joanne Woodward. He again worked with Mr Newman and Miss Woodward in PARIS BLUES (1961), a drama about American jazz musicians in Paris who fall for two American girls there. Another noteworthy drama was 1962's HEMINGWAYS ADVENTURES OF A YOUNG MAN. It was another of his movies with a male lead, starring Richard Beymer as a man coming of age after World War I military service, and other life events. The 1970s afforded Mr Ritt more opportunities to tackle controversial themes with his distinctive even-handed touch.

THE MOLLY MAGUIRES (1970) was an historical drama of Irish coal mine workers rebelling against the inequity of their working conditions. With THE GREAT WHITE HOPE (1970), Mr Ritt focused upon a black boxer and his white female friend, their relationship and difficulties presented to the audience to ponder and consider deeply. He again looked at race and family relations in the beautiful SOUNDER (1972), treating all his characters with the utmost understanding, and inviting viewers to do likewise with his moving rendition of a sharecropping family in the Deep South. THE FRONT (1976) was another film that spotlighted discrimination, this time with a man using his presence as a front to submit blacklisted writers' works as his own, but finding it difficult to stay impartial with the prejudices taking place. Mr Ritt once again studied discrimination in NORMA RAE (1978), this time with a textile worker trying to make her workplace better by instituting union practices, and finding it difficult to improve working conditions. Another triumph for Mr Ritt, it garnered Sally Field an Oscar for her role as the determined Norma Rae. HUD, likewise, was another tour de force for Mr Ritt, and a movie that earned Oscars for performers Melvyn Douglas and Patricia Neal.

Adapted from Larry McMurtry's novel of the same name, Mr Ritt has made a film that is entirely satisfying, and in which deficiencies cannot be found. HUD flows exceedingly well from scene to scene, the editing greatly assisting its cause, the storyline handled with simplicity but sympathy for the main characters by the director and writers, and the actors delivering their performances in an unaffected, down-to-earth manner. Similar to THE LAST PICTURE SHOW (1971), also based upon a novel by Mr McMurtry, the source literature is of a very high standard, and the screen translation, is, again, flawless. Mr Ritt exhibits the same compassion and impartiality in HUD that he displayed in his other films, specifically SOUNDER and NORMA RAE, with honorable characters going up against those of the opposite persuasion, thereby allowing the audience to watch situations unfold, presenting both sides of the equation. A film that should be seen by all film buffs at least once in their lives, HUD stands tall as Martin Ritt's masterpiece, and a wonderful contribution to world cinema.

Acting: The acting in HUD is one of its most striking features, elevating it into a special movie viewing experience. In the lead role of Hud Bannon, Paul Newman offers one of his finest portrayals. Seething with passion, eyes frosty, delivering dialogue with sheer conviction, Mr Newman is utterly compelling as Hud. Seeming to lack any moral compass, Mr Newman displays a vulnerability in his character that only makes Hud all the more interesting, and complicated as a human being. Matching him is Melvyn Douglas as Homer, his straight-arrow father, which constitutes the father-son conflict that drives the majority of the movie's drama. Mr Douglas' earnest acting has a touching depth and tragedy that befits his stature as one of Hollywood's best-ever actors. Two other performances in HUD are also notable for the contributions in making the film the classic it is.

The versatile Patricia Neal is thoroughly convincing as the world-weary, put-upon Alma, the domestic assistant in the Bannon household. An actress with the ability to transfix the audience in her movies, Miss Neal makes the most of her participation in the film as Alma, sharing a nice chemistry with all three of her male co-stars, in particular, Paul Newman and Brandon de Wilde. As Lonnie in HUD, Brandon de Wilde exhibits a knowing, easy-going youthful appeal that is in sharp contrast to Hud's rough-edged, raw masculinity. As the youngest member of HUD's ensemble cast, he also had the skill to carve out a fine performance, holding his own with the other excellent cast members. An actor who unfortunately died too early for audiences to see more of his work, he is in great form in HUD. His scenes with Melvyn Douglas show a definite connection between the actors with their grandfather/grandson relationship, with Paul Newman a competitive/kindred bond, and a playful, nuanced connection with Patricia Neal.

Soundtrack: Elmer Bernstein's gentle guitar score perfectly enhances HUD, adding a solemn aura that is in keeping with the film's reflective, subtle nature. The movie features versions of the main score sparingly, with other naturalistic uses of music, such as Lonnie's radio, occurring within the film's diegetic world.

Mise-en-scene: The cinematography by James Wong Howe, as with the acting, is another unforgettable component of HUD. The barren nature of the landscapes, the streetscapes with their beautiful, stylized stores, for example, are captured in all their visual power by the talented Mr Howe. The widescreen photography is just as effective on the small screen, though the big screen is the place to appreciate the film in its supreme glory. The black and white photography works wonderfully, emphasizing the dusty nature of the land, as colour stock would have possibly made the film visually even more attractive, but less hard-hitting than in its monochrome perfection.

Award-worthy performances in my opinion: Paul Newman, Melvyn Douglas, Patricia Neal, Brandon de Wilde.

Suitability for young viewers: No. Adult themes.

Overall Grade: A

Link: IMDB Page

Trailer