Bill Treusch, an esteemed New York-based talent manager, died at the age of 80 following a long illness on Tuesday in New York City.
Through Treusch’s career, he was instrumental in finding and guiding the careers of Sissy Spacek, Richard Jenkins, Melissa Leo, Christopher Walken, Tom Hulce, Diane Keaton, Eric Roberts, Tom Berenger, Peter Weller, Viggo Mortensen, Carol Kane and Sandy Dennis among many other notable actors.
Treusch began his professional career as an autograph collector, then became the personal assistant to Montgomery Clift, who was a theatrical talent agent with Dudley Field Malone. Most notably, Treusch joined the casting office of Marion Dougherty where he worked with Juliet Taylor, Wallis Nicita and Gretchen Rennell as an assistant.
Dougherty noted Treusch’s great eye for talent and reassigned him to a position where his management career then flourished. This story was chronicled in the 2012 documentary “Casting By” from director Tom Donahue.
Through Treusch’s career, he was instrumental in finding and guiding the careers of Sissy Spacek, Richard Jenkins, Melissa Leo, Christopher Walken, Tom Hulce, Diane Keaton, Eric Roberts, Tom Berenger, Peter Weller, Viggo Mortensen, Carol Kane and Sandy Dennis among many other notable actors.
Treusch began his professional career as an autograph collector, then became the personal assistant to Montgomery Clift, who was a theatrical talent agent with Dudley Field Malone. Most notably, Treusch joined the casting office of Marion Dougherty where he worked with Juliet Taylor, Wallis Nicita and Gretchen Rennell as an assistant.
Dougherty noted Treusch’s great eye for talent and reassigned him to a position where his management career then flourished. This story was chronicled in the 2012 documentary “Casting By” from director Tom Donahue.
- 11/16/2022
- by EJ Panaligan
- Variety Film + TV
Bill Treusch, a longtime New York talent manager who once served as personal assistant to Montgomery Clift and went on help guide the careers of Sissy Spacek, Christopher Walken, Tom Hulce, Diane Keaton, Eric Roberts, Tom Berenger and numerous others, died Tuesday in New York City following a lengthy illness. He was 80.
Following his stint as Clift’s personal assistant, Treusch became a theatrical talent agent with Dudley Field Malone. He joined the casting office of Marion Dougherty where he worked with casting agents Juliet Taylor, Wallis Nicita, and Gretchen Rennell.
Although Dougherty believed Treusch was unsuited to casting, she recognized his eye for talent. Settled into Dougherty’s basement office, Treusch flourished and eventually founded his own one-man operation that evolved into Bill Treusch Management, a leading management company.
Working with film, television and stage performers over a career that spanned more than five decades, Treusch was instrumental in...
Following his stint as Clift’s personal assistant, Treusch became a theatrical talent agent with Dudley Field Malone. He joined the casting office of Marion Dougherty where he worked with casting agents Juliet Taylor, Wallis Nicita, and Gretchen Rennell.
Although Dougherty believed Treusch was unsuited to casting, she recognized his eye for talent. Settled into Dougherty’s basement office, Treusch flourished and eventually founded his own one-man operation that evolved into Bill Treusch Management, a leading management company.
Working with film, television and stage performers over a career that spanned more than five decades, Treusch was instrumental in...
- 11/16/2022
- by Greg Evans
- Deadline Film + TV
Click here to read the full article.
Bill Treusch, the admired New York-based talent manager who jump-started the career of Sissy Spacek and represented Christopher Walken, Diane Keaton, Viggo Mortensen, Richard Jenkins and many others during his five-decade career, has died. He was 80.
Treusch died Tuesday in New York after a long illness, his niece Shannon Treusch, founder and partner of the public relations firm Falco Ink., announced.
Treusch got his big break when legendary casting director Marion Dougherty recognized his eye for talent and gave him an office in her basement at East 30th Street in Manhattan. There, he launched Bill Treusch & Associates, later known as Bill Treusch Management. (The story is told in the 2012 documentary Casting By, directed by Tom Donahue.)
His firm started as a one-man band before evolving into a powerhouse management company.
He was especially helpful to Spacek, who was a struggling singer and actress...
Bill Treusch, the admired New York-based talent manager who jump-started the career of Sissy Spacek and represented Christopher Walken, Diane Keaton, Viggo Mortensen, Richard Jenkins and many others during his five-decade career, has died. He was 80.
Treusch died Tuesday in New York after a long illness, his niece Shannon Treusch, founder and partner of the public relations firm Falco Ink., announced.
Treusch got his big break when legendary casting director Marion Dougherty recognized his eye for talent and gave him an office in her basement at East 30th Street in Manhattan. There, he launched Bill Treusch & Associates, later known as Bill Treusch Management. (The story is told in the 2012 documentary Casting By, directed by Tom Donahue.)
His firm started as a one-man band before evolving into a powerhouse management company.
He was especially helpful to Spacek, who was a struggling singer and actress...
- 11/16/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
Its juicy evil-stepfather premise notwithstanding, "Domestic Disturbance" emerges as a serviceable if generic thriller that grows more conventional by the minute.
Given the pedigree of a package that includes an adversarial John Travolta and Vince Vaughn, "Sea of Love" director Harold Becker and "October Sky" scribe Lewis Colick, it's understandable to expect something more than standard-issue chills.
The end result is still probably good enough to satisfy audiences in need of a decent distraction on the home front, which should guarantee this Paramount release some very healthy domestic returns.
With its universal dysfunctional family angle, overseas boxoffice isn't looking too shabby, either.
Travolta is in effective everyman mode here as Frank Morrison, a divorced, hardworking Maryland (subbed for by North Carolina) boat builder who remains tight with his rebellious preteen son, Danny (nicely played by Matt O'Leary).
But Danny's mom (Teri Polo) is about to get married to the slick Rick Barnes (Vaughn), a philanthropist who has done a lot for the seaside town but is somewhat lacking in the parenting skills department.
Danny reacts as he always does in situations that don't suit him -- by acting out. So when he goes to the police claiming that he saw his new stepdad murder a man (Steve Buscemi, as a colorful lowlife from Vaughn's buried past) and a perfunctory investigation fails to turn up anything, Danny is regarded as just another troubled boy who calls wolf.
Of course, Barnes, knowing that Danny knows, makes sure the boy keeps his mouth shut by threatening to do damage to his suspicious dad should he choose to further pursue the matter.
It's a decent setup, with Colick neatly laying down the various character dynamics and Becker keying the mounting suspense with a spare efficiency.
From there, in terms of inspiration, it's all downhill, leading to a tired hand-to-hand combat finale that could have been lifted from a dozen lesser productions and leaving the overall effect of making "Domestic Disturbance" look like a rush job.
The players, as well as the viewers, were certainly primed for something a little more adventurous. It's nice to see Travolta back in an audience-pleasing heroic role, though he doesn't seem to be putting out anything more than is necessary to make the character work. It's a cost-effective performance.
Vaughn, meanwhile, who's at his best pouring on the dark-edged smarm, is particularly well-cast here. His brooding pathological charmer brings to mind the character Terry O'Quinn perfected in that less benign 1987 cult fave "The Stepfather".
And no one plays seedy but lovable quite like Buscemi, who looks like he's got one foot between the race track and the adult book store. Too bad his demise couldn't have come a little later.
Behind the scenes, director of photography and frequent Alan Parker collaborator Michael Seresin serves the production well, as does Mark Mancina's unsettled score.
DOMESTIC DISTURBANCE
Paramount
Paramount Pictures
A De Line Pictures and Jonathan D. Krane production
A Harold Becker film
Director: Harold Becker
Producers: Donald De Line, Jonathan Krane
Screenwriter: Lewis Colick
Story by: Lewis Colick, William S. Comanor, Gary Drucker
Director of photography: Michael Seresin
Production designer: Clay A. Griffith
Editor: Peter Honess
Costume designer: Bobbie Read
Music: Mark Mancina
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Frank Morrison: John Travolta
Rick Barnes: Vince Vaughn
Susan: Teri Polo
Danny Morrison: Matt O'Leary
Diane: Susan Floyd
Ray Coleman: Steve Buscemi
Running time -- 88 minutes
MPAA rating: PG-13...
Given the pedigree of a package that includes an adversarial John Travolta and Vince Vaughn, "Sea of Love" director Harold Becker and "October Sky" scribe Lewis Colick, it's understandable to expect something more than standard-issue chills.
The end result is still probably good enough to satisfy audiences in need of a decent distraction on the home front, which should guarantee this Paramount release some very healthy domestic returns.
With its universal dysfunctional family angle, overseas boxoffice isn't looking too shabby, either.
Travolta is in effective everyman mode here as Frank Morrison, a divorced, hardworking Maryland (subbed for by North Carolina) boat builder who remains tight with his rebellious preteen son, Danny (nicely played by Matt O'Leary).
But Danny's mom (Teri Polo) is about to get married to the slick Rick Barnes (Vaughn), a philanthropist who has done a lot for the seaside town but is somewhat lacking in the parenting skills department.
Danny reacts as he always does in situations that don't suit him -- by acting out. So when he goes to the police claiming that he saw his new stepdad murder a man (Steve Buscemi, as a colorful lowlife from Vaughn's buried past) and a perfunctory investigation fails to turn up anything, Danny is regarded as just another troubled boy who calls wolf.
Of course, Barnes, knowing that Danny knows, makes sure the boy keeps his mouth shut by threatening to do damage to his suspicious dad should he choose to further pursue the matter.
It's a decent setup, with Colick neatly laying down the various character dynamics and Becker keying the mounting suspense with a spare efficiency.
From there, in terms of inspiration, it's all downhill, leading to a tired hand-to-hand combat finale that could have been lifted from a dozen lesser productions and leaving the overall effect of making "Domestic Disturbance" look like a rush job.
The players, as well as the viewers, were certainly primed for something a little more adventurous. It's nice to see Travolta back in an audience-pleasing heroic role, though he doesn't seem to be putting out anything more than is necessary to make the character work. It's a cost-effective performance.
Vaughn, meanwhile, who's at his best pouring on the dark-edged smarm, is particularly well-cast here. His brooding pathological charmer brings to mind the character Terry O'Quinn perfected in that less benign 1987 cult fave "The Stepfather".
And no one plays seedy but lovable quite like Buscemi, who looks like he's got one foot between the race track and the adult book store. Too bad his demise couldn't have come a little later.
Behind the scenes, director of photography and frequent Alan Parker collaborator Michael Seresin serves the production well, as does Mark Mancina's unsettled score.
DOMESTIC DISTURBANCE
Paramount
Paramount Pictures
A De Line Pictures and Jonathan D. Krane production
A Harold Becker film
Director: Harold Becker
Producers: Donald De Line, Jonathan Krane
Screenwriter: Lewis Colick
Story by: Lewis Colick, William S. Comanor, Gary Drucker
Director of photography: Michael Seresin
Production designer: Clay A. Griffith
Editor: Peter Honess
Costume designer: Bobbie Read
Music: Mark Mancina
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Frank Morrison: John Travolta
Rick Barnes: Vince Vaughn
Susan: Teri Polo
Danny Morrison: Matt O'Leary
Diane: Susan Floyd
Ray Coleman: Steve Buscemi
Running time -- 88 minutes
MPAA rating: PG-13...
Brian De Palma, Sissy Spacek, Piper Laurie, John Travolta, William Katt and Stephen King are nowhere to be found. And with the exception of a near-catatonic Amy Irving, reprising her Sue Snell character, and some copycat plotting, "The Rage: Carrie 2" has virtually nothing in common with its 1976 forerunner.
Heck, there isn't even anybody named Carrie here, save for some cheesy flashbacks composed of the sow's blood-soaked De Palma footage.
Still, that hasn't stopped Paul Monash, the original's producer, from trying to hop aboard the big high school/horror bandwagon. But the result is a hamfisted clunker that is certain to induce more guffaws than goose bumps.
Given the above plus the lack of name leads and the current glut of teen product ("Cruel Intentions", "She's All That"), very few will likely get "Carrie-d" away.
Here's the set-up:
Rachel (Emily Bergl) is your average unpopular high school student with an institutionalized mother, nasty foster parents and a best friend who commits suicide. Oh, and she has a habit of flying into a telekinetic tizzy every time she gets a little upset.
As it turns out, the dad Rachel never met also happened to father one Carrie White and we all know what happened to her. And just in case we don't, they've thrown in a bunch of lame flashbacks to remind us.
Things seem to improve somewhat when she meets nice guy Jessie (Jason London), but it turns out he's an unwitting part of an elaborate school hoax to humiliate Rachel. Of course, they'll all pay a dear price for messing with her mind.
Newcomer Bergl is actually quite good in the role, grounding her character in a believability that somehow manages to defy screenwriter Rafael Moreu's ("Hackers") ultra-dumb dialogue.
The rest of the cast isn't so lucky, particularly Irving as Carrie's former schoolmate-turned-guidance counselor who unsuccessfully attempts to avert imminent disaster. For some mysterious reason, her performance is given in what appears to be a hypnotic trance.
Perhaps director Katt Shea ("Poison Ivy") could provide some explanation. While the picture clearly has some seriously arty aspirations, the plodding pace makes for mind-numbingly dull viewing. There's more kinetic energy in an episode of "Charmed".
Once again, as with the original, the special effects budget is saved up for the big vengeance finale. And while some of the gross-out elements (with decent digital effects created by Kleiser-Walczak Construction Co. and special makeup effects by Thomas R. Burman & Bari Dreiband-Burman) finally deliver, it ultimately commits the cardinal sin of supernatural thrillers: This "Carrie"'s not scary.
THE RAGE: CARRIE 2
MGM
United Artists Pictures presents
A Red Bank Films production
Director: Katt Shea
Screenwriter: Rafael Moreu
Producer: Paul Monash
Executive producer: Patrick Palmer
Director of photography: Donald M. Morgan
Production designer: Peter Jamison
Editor: Richard Nord
Costume designer: Theoni V. Aldredge
Music: Danny B. Harvey
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Rachel: Emily Bergl
Jessie: Jason London
Sue Snell: Amy Irving
Mark: Dylan Bruno
Barbara: J. Smith-Cameron
Brad: Justin Urich
Running time -- 104 minutes
MPAA Rating: R...
Heck, there isn't even anybody named Carrie here, save for some cheesy flashbacks composed of the sow's blood-soaked De Palma footage.
Still, that hasn't stopped Paul Monash, the original's producer, from trying to hop aboard the big high school/horror bandwagon. But the result is a hamfisted clunker that is certain to induce more guffaws than goose bumps.
Given the above plus the lack of name leads and the current glut of teen product ("Cruel Intentions", "She's All That"), very few will likely get "Carrie-d" away.
Here's the set-up:
Rachel (Emily Bergl) is your average unpopular high school student with an institutionalized mother, nasty foster parents and a best friend who commits suicide. Oh, and she has a habit of flying into a telekinetic tizzy every time she gets a little upset.
As it turns out, the dad Rachel never met also happened to father one Carrie White and we all know what happened to her. And just in case we don't, they've thrown in a bunch of lame flashbacks to remind us.
Things seem to improve somewhat when she meets nice guy Jessie (Jason London), but it turns out he's an unwitting part of an elaborate school hoax to humiliate Rachel. Of course, they'll all pay a dear price for messing with her mind.
Newcomer Bergl is actually quite good in the role, grounding her character in a believability that somehow manages to defy screenwriter Rafael Moreu's ("Hackers") ultra-dumb dialogue.
The rest of the cast isn't so lucky, particularly Irving as Carrie's former schoolmate-turned-guidance counselor who unsuccessfully attempts to avert imminent disaster. For some mysterious reason, her performance is given in what appears to be a hypnotic trance.
Perhaps director Katt Shea ("Poison Ivy") could provide some explanation. While the picture clearly has some seriously arty aspirations, the plodding pace makes for mind-numbingly dull viewing. There's more kinetic energy in an episode of "Charmed".
Once again, as with the original, the special effects budget is saved up for the big vengeance finale. And while some of the gross-out elements (with decent digital effects created by Kleiser-Walczak Construction Co. and special makeup effects by Thomas R. Burman & Bari Dreiband-Burman) finally deliver, it ultimately commits the cardinal sin of supernatural thrillers: This "Carrie"'s not scary.
THE RAGE: CARRIE 2
MGM
United Artists Pictures presents
A Red Bank Films production
Director: Katt Shea
Screenwriter: Rafael Moreu
Producer: Paul Monash
Executive producer: Patrick Palmer
Director of photography: Donald M. Morgan
Production designer: Peter Jamison
Editor: Richard Nord
Costume designer: Theoni V. Aldredge
Music: Danny B. Harvey
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Rachel: Emily Bergl
Jessie: Jason London
Sue Snell: Amy Irving
Mark: Dylan Bruno
Barbara: J. Smith-Cameron
Brad: Justin Urich
Running time -- 104 minutes
MPAA Rating: R...
- 3/12/1999
- The Hollywood Reporter - Movie News
At first glance, "The Other Sister" would appear to be a TV movie with loftier ambitions.
Fortunately, looks can occasionally be deceiving. A romantic comedy about love among the intellectually challenged, this potential crowd-pleaser earns its big-screen stripes thanks to its energetic, highly capable cast and some zesty direction by Garry Marshall that undercuts the soapier aspects with liberal jabs of unexpected humor.
Speaking of challenged, Touchstone's marketing staff certainly has their work cut out for themselves given the picture's tricky subject matter. But if they succeed in getting initial audiences through the door, enthusiastic word-of-mouth could translate into some respectable returns.
In a comeback of sorts, Juliette Lewis gives one of the most grounded, accomplished performances of her young career as the spirited Carla Tate, a somewhat mentally challenged 24-year-old determined to emerge from under the overprotective wing of her controlling mother, Elizabeth (Diane Keaton).
Having overcome many of her previous problems during her years away at a Special Ed boarding school, Carla returns home to her family a capable young woman despite a pronounced speech impediment and the occasional emotional outburst.
Eager to assert her newfound confidence, Carla enrolls herself in a regular tech college much to the protests of Elizabeth, who doesn't want to see her get hurt. There, Carla meets Danny (Giovanni Ribisi), a similarly challenged young man.
Living in his own apartment but under the supportive, watchful eye of neighbor Ernie (Hector Elizondo), Danny falls in love with Carla, and her resulting feeling of unconditional acceptance goes even further to fan the flames in a battle of wills between herself and her mother.
Lewis is wonderful in the role, breathing life into a character who is alternately compassionate and humorously endearing. Her quest for and ultimate achievement of her independence is registered in a series of personal awakenings that are reflected across her face like warm rays of sunshine.
Ribisi, recently seen in "Saving Private Ryan" and coming up as a member of the big-screen "Mod Squad", is equally adept at never pandering to what could have been a cloying character. Keaton, meanwhile, does a finely balanced job in portraying a person whose stubborn hardness is betrayed by her own admitted insecurities about her perception as an effective mother.
Also good are Tom Skerritt as Lewis' understanding, former alcoholic father and Poppy Montgomery and Sarah Paulson as her supportive sisters. And Juliet Mills, in a nod toward her "Nanny and the Professor" days, puts in a welcome appearance as the equally sympathetic Winnie, the family nanny.
Marshall, who also co-wrote the script with longtime collaborator Bob Brunner, accomplishes the not-so-easy feat of averting much of the potential pathos by mixing some well-paced comedy into all the confrontation. Occasionally, some of the material's more virtuously squishy aspects poke through, but for the most part, things are disarmingly upbeat.
Among the technical attributes, cinematographer Dante Spinotti, who received an Oscar nomination for his work on "L.A. Confidential", keeps it fairly bright and simple here, as does Stephen J. Lineweaver's production design and Rachel Portman's syrup-lite score.
On the tunes' end, the Pretenders' performance of the Diane Warren-penned "Loving You Is All I Know" sounds like a winner.
THE OTHER SISTER
Buena Vista Pictures Distribution
Touchstone Pictures
Director: Garry Marshall
Screenwriters: Garry Marshall & Bob Brunner
Story: Alexandra Rose & Blair Richwood and Garry Marshall & Bob Brunner
Producers: Mario Iscovich, Alexandra Rose
Executive producer: David Hoberman
Director of photography: Dante Spinotti
Production designer: Stephen J. Lineweaver
Editor: Bruce Green
Costume designer: Gary Jones
Music supervisor: Kathy Nelson
Music: Rachel Portman
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Carla Tate: Juliette Lewis
Elizabeth Tate: Diane Keaton
Radley Tate: Tom Skerritt
Danny McMahon: Giovanni Ribisi
Caroline Tate: Poppy Montgomery
Heather Tate: Sarah Paulson
Drew: Linda Thorson
Jeff: Joe Flanigan
Winnie: Juliet Mills
Ernie: Hector Elizondo
Running time -- 124 minutes
MPAA rating: PG-13...
Fortunately, looks can occasionally be deceiving. A romantic comedy about love among the intellectually challenged, this potential crowd-pleaser earns its big-screen stripes thanks to its energetic, highly capable cast and some zesty direction by Garry Marshall that undercuts the soapier aspects with liberal jabs of unexpected humor.
Speaking of challenged, Touchstone's marketing staff certainly has their work cut out for themselves given the picture's tricky subject matter. But if they succeed in getting initial audiences through the door, enthusiastic word-of-mouth could translate into some respectable returns.
In a comeback of sorts, Juliette Lewis gives one of the most grounded, accomplished performances of her young career as the spirited Carla Tate, a somewhat mentally challenged 24-year-old determined to emerge from under the overprotective wing of her controlling mother, Elizabeth (Diane Keaton).
Having overcome many of her previous problems during her years away at a Special Ed boarding school, Carla returns home to her family a capable young woman despite a pronounced speech impediment and the occasional emotional outburst.
Eager to assert her newfound confidence, Carla enrolls herself in a regular tech college much to the protests of Elizabeth, who doesn't want to see her get hurt. There, Carla meets Danny (Giovanni Ribisi), a similarly challenged young man.
Living in his own apartment but under the supportive, watchful eye of neighbor Ernie (Hector Elizondo), Danny falls in love with Carla, and her resulting feeling of unconditional acceptance goes even further to fan the flames in a battle of wills between herself and her mother.
Lewis is wonderful in the role, breathing life into a character who is alternately compassionate and humorously endearing. Her quest for and ultimate achievement of her independence is registered in a series of personal awakenings that are reflected across her face like warm rays of sunshine.
Ribisi, recently seen in "Saving Private Ryan" and coming up as a member of the big-screen "Mod Squad", is equally adept at never pandering to what could have been a cloying character. Keaton, meanwhile, does a finely balanced job in portraying a person whose stubborn hardness is betrayed by her own admitted insecurities about her perception as an effective mother.
Also good are Tom Skerritt as Lewis' understanding, former alcoholic father and Poppy Montgomery and Sarah Paulson as her supportive sisters. And Juliet Mills, in a nod toward her "Nanny and the Professor" days, puts in a welcome appearance as the equally sympathetic Winnie, the family nanny.
Marshall, who also co-wrote the script with longtime collaborator Bob Brunner, accomplishes the not-so-easy feat of averting much of the potential pathos by mixing some well-paced comedy into all the confrontation. Occasionally, some of the material's more virtuously squishy aspects poke through, but for the most part, things are disarmingly upbeat.
Among the technical attributes, cinematographer Dante Spinotti, who received an Oscar nomination for his work on "L.A. Confidential", keeps it fairly bright and simple here, as does Stephen J. Lineweaver's production design and Rachel Portman's syrup-lite score.
On the tunes' end, the Pretenders' performance of the Diane Warren-penned "Loving You Is All I Know" sounds like a winner.
THE OTHER SISTER
Buena Vista Pictures Distribution
Touchstone Pictures
Director: Garry Marshall
Screenwriters: Garry Marshall & Bob Brunner
Story: Alexandra Rose & Blair Richwood and Garry Marshall & Bob Brunner
Producers: Mario Iscovich, Alexandra Rose
Executive producer: David Hoberman
Director of photography: Dante Spinotti
Production designer: Stephen J. Lineweaver
Editor: Bruce Green
Costume designer: Gary Jones
Music supervisor: Kathy Nelson
Music: Rachel Portman
Casting: Gretchen Rennell Court
Color/stereo
Cast:
Carla Tate: Juliette Lewis
Elizabeth Tate: Diane Keaton
Radley Tate: Tom Skerritt
Danny McMahon: Giovanni Ribisi
Caroline Tate: Poppy Montgomery
Heather Tate: Sarah Paulson
Drew: Linda Thorson
Jeff: Joe Flanigan
Winnie: Juliet Mills
Ernie: Hector Elizondo
Running time -- 124 minutes
MPAA rating: PG-13...
- 2/22/1999
- The Hollywood Reporter - Movie News
"The Horse Whisperer", befitting its title, is a vital, subtle story.
It's a stirring tale of a girl's struggle to overcome a debilitating accident, a mother's quest to help her daughter, and a stranger's attempt to heal a family. In short, it's a people story, and the Buena Vista release will win its strongest support among those who appreciate films of substance.
Admittedly, it's a deliberately paced tale, but it has strong, delicate virtues that distinguish it from the norm of spring releases. "Whisperer" is an intelligent offering, and it may appeal to viewers who appreciate a relationship story In the style of "The Bridges of Madison County".
For those of us who have rarely ridden a horse, the title comes from the euphemism "horse whispering," a term describing the trust and understanding that occurs between rider and horse. In this case, the story revolves around a girl (Scarlett Johansson) who has suffered a terrible accident in a fall from her horse -- a leg has been crushed. Her mother, Annie Kristin Scott Thomas), a high-powered New York magazine editor, realizes that her daughter's accident is perhaps more damaging psychologically than physically, and she seeks out the professional expertise of a "horse whisperer," a Montana man legendary for his dealings with horses (Robert Redford).
Overall, "The Horse Whisperer" is a multi-relationship story. In its most obvious trajectory, it concerns the girl's trauma -- she has simply lost all hope in life. Yet it's also the tale of her parents, as well as a man way out in Montana who comes to nourish and revitalize them. Screenwriters Eric Roth and Richard LaGravenese have distilled a stirring, touching narrative from Nicholas Evans' novel, a book that, in its gestation, caused considerable interest as a possible filmic adaptation.
While this "horse" story focuses on the girl's well-being, it is also a romance. Filmically, it's of the opposites-attract genre where, in this case, a career-minded slicker from New York (Thomas) links up with a family-oriented chap from Montana. There are sparks and, indeed, the Montana farmer and the New York editor alternately annoy and impress each other; yet above all, they respect each other and fall in love. What is most moving about the film is the unpredictable nature of the love relationship; on a superficial level, the two are wrong for each other, but we come to see how they fit and nourish each other.
The film's strongest point is its performances. As he did in "Ordinary People", Redford portrays the pain and wonder of everyday life, showing the difficulty of living but also the joys that can be found in unexpected places and with, seemingly, inappropriate matches. As the laconic but wise Montana man, he exudes the dignified strength of a man at peace with himself. Thomas is wonderful as the loving but feisty career woman. While her character is certainly nettlesome and somewhat abrasive, she displays a tender underside, and we respect her for her tenacity.
As the daughter disfigured from the riding accident, Johansson is winning; she wins our sympathies as a young girl whose future has been horribly changed. In addition, Sam Neill shines in a supporting role as the father. His distress is apparent and understandable: He is overwhelmed by his vivacious wife and decimated by his daughter's tragedy. In short, he feels unworthy, and Neill conveys that sense of inadequacy well.
Overall, the technical contributions are smartly realized, a testament to director Redford's visual sensibility. There's a quiet style about the film, understated and moving. Cinematographer Robert Richardson's scopings are wonderfully Big Sky in their slant, while Jon Hutman's production design captures the solid essence of Middle America. Thomas Newman's music is superb: It's subtle and seems to go against the panorama of the visuals -- and thus clues us to the characters' inner feelings.
THE HORSE WHISPERER
Buena Vista
Touchstone Pictures presents
a Wildwood Enterprises production
Producers: Robert Redford, Patrick Markey
Director: Robert Redford
Screenwriters: Eric Roth, Richard LaGravenese
Based upon the novel by: Nicholas Evans
Director of photography: Robert Richardson
Production designer: Jon Hutman
Editor: Tom Rolf
Costume designer: Judy L. Ruskin
Music: Thomas Newman
Executive producer: Rachel Pfeffer
Co-producer: Joseph Reidy
Associate producer: Karen Tenkhoff
Casting: Ellen Chenoweth, Gretchen Rennell Court
Sound mixer: Tod A. Maitland
Color/stereo
Cast:
Tom Booker: Robert Redford
Annie MacLean: Kristin Scott Thomas
Robert MacLean: Sam Neill
Dianne Booker: Dianne Wiest
Grace MacLean: Scarlett Johansson
Frank Booker: Chris Cooper
Liz Hammond: Cherry Jones
Joe Booker: Ty Hillman
Running time -- 164 minutes
MPAA rating: PG-13...
It's a stirring tale of a girl's struggle to overcome a debilitating accident, a mother's quest to help her daughter, and a stranger's attempt to heal a family. In short, it's a people story, and the Buena Vista release will win its strongest support among those who appreciate films of substance.
Admittedly, it's a deliberately paced tale, but it has strong, delicate virtues that distinguish it from the norm of spring releases. "Whisperer" is an intelligent offering, and it may appeal to viewers who appreciate a relationship story In the style of "The Bridges of Madison County".
For those of us who have rarely ridden a horse, the title comes from the euphemism "horse whispering," a term describing the trust and understanding that occurs between rider and horse. In this case, the story revolves around a girl (Scarlett Johansson) who has suffered a terrible accident in a fall from her horse -- a leg has been crushed. Her mother, Annie Kristin Scott Thomas), a high-powered New York magazine editor, realizes that her daughter's accident is perhaps more damaging psychologically than physically, and she seeks out the professional expertise of a "horse whisperer," a Montana man legendary for his dealings with horses (Robert Redford).
Overall, "The Horse Whisperer" is a multi-relationship story. In its most obvious trajectory, it concerns the girl's trauma -- she has simply lost all hope in life. Yet it's also the tale of her parents, as well as a man way out in Montana who comes to nourish and revitalize them. Screenwriters Eric Roth and Richard LaGravenese have distilled a stirring, touching narrative from Nicholas Evans' novel, a book that, in its gestation, caused considerable interest as a possible filmic adaptation.
While this "horse" story focuses on the girl's well-being, it is also a romance. Filmically, it's of the opposites-attract genre where, in this case, a career-minded slicker from New York (Thomas) links up with a family-oriented chap from Montana. There are sparks and, indeed, the Montana farmer and the New York editor alternately annoy and impress each other; yet above all, they respect each other and fall in love. What is most moving about the film is the unpredictable nature of the love relationship; on a superficial level, the two are wrong for each other, but we come to see how they fit and nourish each other.
The film's strongest point is its performances. As he did in "Ordinary People", Redford portrays the pain and wonder of everyday life, showing the difficulty of living but also the joys that can be found in unexpected places and with, seemingly, inappropriate matches. As the laconic but wise Montana man, he exudes the dignified strength of a man at peace with himself. Thomas is wonderful as the loving but feisty career woman. While her character is certainly nettlesome and somewhat abrasive, she displays a tender underside, and we respect her for her tenacity.
As the daughter disfigured from the riding accident, Johansson is winning; she wins our sympathies as a young girl whose future has been horribly changed. In addition, Sam Neill shines in a supporting role as the father. His distress is apparent and understandable: He is overwhelmed by his vivacious wife and decimated by his daughter's tragedy. In short, he feels unworthy, and Neill conveys that sense of inadequacy well.
Overall, the technical contributions are smartly realized, a testament to director Redford's visual sensibility. There's a quiet style about the film, understated and moving. Cinematographer Robert Richardson's scopings are wonderfully Big Sky in their slant, while Jon Hutman's production design captures the solid essence of Middle America. Thomas Newman's music is superb: It's subtle and seems to go against the panorama of the visuals -- and thus clues us to the characters' inner feelings.
THE HORSE WHISPERER
Buena Vista
Touchstone Pictures presents
a Wildwood Enterprises production
Producers: Robert Redford, Patrick Markey
Director: Robert Redford
Screenwriters: Eric Roth, Richard LaGravenese
Based upon the novel by: Nicholas Evans
Director of photography: Robert Richardson
Production designer: Jon Hutman
Editor: Tom Rolf
Costume designer: Judy L. Ruskin
Music: Thomas Newman
Executive producer: Rachel Pfeffer
Co-producer: Joseph Reidy
Associate producer: Karen Tenkhoff
Casting: Ellen Chenoweth, Gretchen Rennell Court
Sound mixer: Tod A. Maitland
Color/stereo
Cast:
Tom Booker: Robert Redford
Annie MacLean: Kristin Scott Thomas
Robert MacLean: Sam Neill
Dianne Booker: Dianne Wiest
Grace MacLean: Scarlett Johansson
Frank Booker: Chris Cooper
Liz Hammond: Cherry Jones
Joe Booker: Ty Hillman
Running time -- 164 minutes
MPAA rating: PG-13...
Some sharp comedic work from odd couple Tim Robbins and Martin Lawrence helps "Nothing to Lose" rise above its routine caper trappings, but it's not enough to guarantee writer-director Steve Oedekerk ("Ace Ventura 2: When Nature Calls") a follow-up hit.
Despite a promising start, the Touchstone Pictures release limps to the finish line, leaving untold numbers of missed comic opportunities in its wake despite the game efforts of its leads.
While Lawrence has a loyal following, the intense summer competition will pretty much ensure that "Nothing to Lose" will have little to gain at ticket counters.
Robbins, apparently relishing the opportunity to try some physical comedy on for size after remaining behind the camera for "Dead Man Walking", is a treat as Nick Beam, an ad exec who flips out after allegedly finding his wife (Kelly Preston) in bed with his smug boss (Michael McKean).
Driving off in a dazed state of confusion and hurt, Nick receives another little surprise when a fast-talking carjacker called T. (Martin Lawrence) suddenly appears in his front seat with a gun pointed in his face. Feeling like a man pushed to the brink with nothing to lose, Nick decides to turn his would-be mugger into a hostage, chucking his wallet out the window and speeding off into the wide-open spaces.
As is a given in these kinds of movies, the two men from seemingly different sides of the tracks ultimately form an unlikely bond, driven by a scheme that will get back at Beam's boss while providing T. with an answer to his financial woes.
Lawrence, who has demonstrated some impressive comic chops in "Bad Boys" and on the Fox sitcom that bears his first name, makes a fine flustered foil for Robbins' on-the-edge guy. The two play off each other nicely.
In a limited role, Preston is once again cast as the heartbreaker (see also "Addicted to Love", "Jerry Maguire"), while John C. McGinley and Giancarlo Esposito play it broadly as thugs on the tail of Robbins and Lawrence.
Despite the energetic performances, Oedekerk's screenplay still feels stale, particularly with a flatly stereotypical portrayal of black-white race relations that seems at least a decade out of touch. Oedekerk, incidentally, is a former sketch writer for "In Living Color".
"Nothing to Lose" has a lot going for it on the music end, packing in a jukebox's worth of tunes highlighted by a new Coolio track, "C U When You Get There", that manages to juxtapose samples of Pachelbel's "Canon" over hip-hop beats (!).
NOTHING TO LOSE
Buena Vista
Touchstone Pictures presents
A Bregman production
A Steve Oedekerk film
Director-screenwriter Steve Oedekerk
Producers Martin Bregman, Dan Jinks,
Michael Bregman
Executive producer Louis A. Stroller
Director of photography Donald E. Thorin
Production designer Maria Caso
Editor Malcolm Campbell
Costume designer Elsa Zamparelli
Music Robert Folk
Casting Gretchen Rennell Court
Color/stereo
Cast:
T. Paul Martin Lawrence
Nick Beam Tim Robbins
Rig John C. McGinley
Charlie Giancarlo Esposito
Ann Kelly Preston
Philip Barrow Michael McKean
Running time -- 97 minutes
MPAA rating: R...
Despite a promising start, the Touchstone Pictures release limps to the finish line, leaving untold numbers of missed comic opportunities in its wake despite the game efforts of its leads.
While Lawrence has a loyal following, the intense summer competition will pretty much ensure that "Nothing to Lose" will have little to gain at ticket counters.
Robbins, apparently relishing the opportunity to try some physical comedy on for size after remaining behind the camera for "Dead Man Walking", is a treat as Nick Beam, an ad exec who flips out after allegedly finding his wife (Kelly Preston) in bed with his smug boss (Michael McKean).
Driving off in a dazed state of confusion and hurt, Nick receives another little surprise when a fast-talking carjacker called T. (Martin Lawrence) suddenly appears in his front seat with a gun pointed in his face. Feeling like a man pushed to the brink with nothing to lose, Nick decides to turn his would-be mugger into a hostage, chucking his wallet out the window and speeding off into the wide-open spaces.
As is a given in these kinds of movies, the two men from seemingly different sides of the tracks ultimately form an unlikely bond, driven by a scheme that will get back at Beam's boss while providing T. with an answer to his financial woes.
Lawrence, who has demonstrated some impressive comic chops in "Bad Boys" and on the Fox sitcom that bears his first name, makes a fine flustered foil for Robbins' on-the-edge guy. The two play off each other nicely.
In a limited role, Preston is once again cast as the heartbreaker (see also "Addicted to Love", "Jerry Maguire"), while John C. McGinley and Giancarlo Esposito play it broadly as thugs on the tail of Robbins and Lawrence.
Despite the energetic performances, Oedekerk's screenplay still feels stale, particularly with a flatly stereotypical portrayal of black-white race relations that seems at least a decade out of touch. Oedekerk, incidentally, is a former sketch writer for "In Living Color".
"Nothing to Lose" has a lot going for it on the music end, packing in a jukebox's worth of tunes highlighted by a new Coolio track, "C U When You Get There", that manages to juxtapose samples of Pachelbel's "Canon" over hip-hop beats (!).
NOTHING TO LOSE
Buena Vista
Touchstone Pictures presents
A Bregman production
A Steve Oedekerk film
Director-screenwriter Steve Oedekerk
Producers Martin Bregman, Dan Jinks,
Michael Bregman
Executive producer Louis A. Stroller
Director of photography Donald E. Thorin
Production designer Maria Caso
Editor Malcolm Campbell
Costume designer Elsa Zamparelli
Music Robert Folk
Casting Gretchen Rennell Court
Color/stereo
Cast:
T. Paul Martin Lawrence
Nick Beam Tim Robbins
Rig John C. McGinley
Charlie Giancarlo Esposito
Ann Kelly Preston
Philip Barrow Michael McKean
Running time -- 97 minutes
MPAA rating: R...
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