Getting a kick from ‘8 Women’; ‘Alabama’ more than a romance

A light, frothy bit of French dressing

Fans of French cinema will love “8 Women” if only to see their

favorite actresses together on screen. Catherine Deneuve, Fanny

Ardant, Isabelle Huppert, Danielle Darrieux, Emmanuelle Beart,

Firmine Richard and Virginie Ledoyen are a force to be reckoned with.

As directed and co-written by Francois Ozon, the film has the

glossy, overripe look of those old Lana Turner movies in the ‘50s,

the same time period in which “8 Women” takes place.

I really had no idea what the movie was about other than what the

ads revealed -- the lone man in a household of women is found

murdered in his bed. The plot is like an Agatha Christie story or a

game of “Clue” -- the house is snowbound, the phone lines have been

cut, the car doesn’t work and, of course, everyone is a suspect.

But before you can say “Miss Scarlett in the conservatory with a

knife,” there’s Gaby (Deneuve) suddenly bursting into song and dance

with her daughters Suzon (Ledoyen) and Catherine (Ludivine Sagnier).

What kind of a movie is this?

Well, it’s everything and nothing you’ve ever seen before, and

that is what makes “8 Women” such a kick. It’s a farce with couture

clothes, a frothy little excuse for the actors to have fun, and each

gets her own musical turn in the spotlight. Isabelle Huppert is quite

hilarious as the stereotypical spinster and a real scene-stealer --

no small feat with this ensemble. And when was the last time you saw

Deneuve do physical comedy (in a mink stole, no less)?

If you’re in the mood for something silly then go and see “8

Women.” Don’t be put off by the idea of subtitles -- remember funny

is funny in any language. You may find yourself applauding with

delight at the end along with everyone else.

“8 Women” is rated R for some sexual content.

* SUSANNE PEREZ lives in Costa Mesa and is an executive assistant

for a financial services company.

Endearing Witherspoon in ‘Alabama’

In “Sweet Home Alabama,” we meet Melanie Carmichael (Reese

Witherspoon), who fled the small backwoods town of Pigeon Creek,

Ala., seven years ago. “Needing a better life,” she became drawn to

the bright lights, bustling streets and seemingly limitless

aspirations of New York City. When she left Alabama, she never looked

back.

Now a budding fashion designer on the verge of success and engaged

to one of The Big Apple’s most eligible bachelors, she must go back.

Go back to the one-bank town. Go back to the Catfish Festival and

Coon Dog Cemetery. Go back to the Civil War reenactments. And go back

to the husband that she left behind.

Witherspoon (“Election,” “Pleasantville”) is endearing as the

confused Melanie. She’s surrounded by a well-known supporting cast

(Mary Kay Place, Jean Smart, Fred Ward) whose characterizations are

stereotypical, but not over the top. Dry-witted Candice Bergen is

ideal as her future mother-in-law, the mayor of New York.

As a matter of fact, all the characters are affable. There’s no

duel between the good guy versus the bad guy. Josh Lucas (Jake) as

her first love is adorable. Patrick Dempsey (Andrew) as her fiance is

also adorable. The fact that he rebels against his mother’s political

slant on his relationship is admirable. It’s a difficult choice for a

reason.

Directed by Andy Tennant (“Ever After”) “Alabama” is wholesome,

traditional, matinee-idol, B-movie fun. Both the film’s strengths and

weaknesses lie in its reserved composition. While more outlandish

characterizations or concentrating solely on Melanie’s love interests

may have enhanced the film, it would have overshadowed its main

theme.

The main struggle Melanie encounters is not which man she wants to

marry, but in which person she wants to become. She’s torn between

two worlds. She has tried very hard to deny her past by transforming

herself from “Felony Melanie” into a confident, accepted success. But

now she wants both worlds. Can she have “roots and wings” too?

It wouldn’t do the film justice if you simplified its message to

her choice between Jake as her “roots” and Andrew as her “wings.” If

you’re curious as to which feller she gets hitched to, it’s revealed

at the end of the movie. But if you’re interested as to how she finds

balance in her life, stay through the credits and view the

photomontage.

This is a romantic comedy, so in the end love does triumph, but

not the way you imagine. The charm to “Sweet Home Alabama,” besides

the captivating Witherspoon, resides in its subtlety. It’s not a

simple roll-the-dice romance to see which man she chooses.

For those of us who are transplants in California (and you know

who you are) this movie could have been titled “Sweet Home Missouri”

or “Sweet Home Tennessee.” OK, so it isn’t as lyrical and it wouldn’t

have inspired a remake by Jewel, but you get my point.

“Sweet Home Alabama” isn’t the best romantic comedy I’ve seen, but

it certainly isn’t the worst on my list. And if your teenage daughter

begged to see it, I would only hope that she’d discover more about

self-acceptance and self-confidence than notice the handsome Lucas.

Although, he did clean up real nice.

“Sweet Home Alabama” is rated PG-13 for some language and sexual

references.

* JULIE LOWRANCE is a Costa Mesa resident who works at a Newport

Beach overnight aircraft advertising agency.