CALLING MARIANNE WILLIAMSON
Grand Canyon is very handsome—Owen Roitzman’s photography never strays from comfy clear and satisfying imagery. A relief from all that Short Cuts and Falling Down L.A. smog. Kasdan seems partially recovered from his fuzzy-headedness after the jaundiced Silverado, the chilly Accidental Tourist, the trying-way-too-hard-to-be-funny I Love You to Death, the interminable Wyatt Earp. Co-written by Kasdan’s wife Meg, Grand Canyon isn’t as smartass clever as The Big Chill, but it’s as glossy knee-deep humane—a Marianne Williamson kind of movie. The Kasdans have a character blabbering about providential miracles to make sure we don’t miss the spiritual point, thus explaining Chicago critic Don Selle’s comment that the movie “is a church named Our Lady of the Yuppies.” Alfre Woodard’s moments are beautiful examples of compression: though we really don’t know much about her, we sense—as she’s deep breathing to reduce her nervousness over her blind date with Danny Glover—just about everything. And Glover, the first “miracle worker,” becomes the first 90s modern black role model without the need to pounce us with violence. (Hallelujah!) Kevin Kline is less flitty this time around, and Mary McDonnell has some difficulties at the start: in a very rehearsed bit that could pass as spontaneity, she practically pirouettes to the toilet. (Just can’t get passed how she’s a cross between Jane Fonda and Grace Slick.) Steven Martin’s gray-white beard helps him through some impossibly verbose scenes. Loved James Newton Howard’s percussive theme—wooing and winning as Roitzman’s camera. Still, Selle has it right when he wrote, “I was too exhausted to stay for Communion, which was being served in the lobby afterwards, while the Hollywood & Vine celestial choir sang over all those symbols hanging on every L.A. palm tree.”
Text COPYRIGHT © 2002 RALPH BENNER (Revised 10/2018) All Rights Reserved.