Hello My Name Is Doris: Mini-review


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Sally FIeld

Hello, my name is Sally Field

B+ It’s hard to believe, but it’s been almost a quarter of a century since either film or TV audiences have caught a glimpse of that bright Sally Field smile. Finally, after years of acclaimed but somber roles, the vivacious Field of old re-emerges in Hello My Name Is Doris. All it took was a romance with a man three decades her junior. 

In Hello My Name Is Doris, Field plays the title character, a 60ish woman whose entire life was devoted to caring for her now deceased mother. But a chance kind word and a smile from John (Max Greenfield), her company’s new art director, leads to Doris developing a huge crush on the younger man. Soon, an actual friendship develops between the two, and Doris comes out of her lifelong shell, to the dismay of her friend Roz (Tyne Daly), who sees where Doris’ infatuation is heading.

In the wrong hands, Hello My Name Is Doris could easily have become either a more extreme version of The Graduate or a pathetic tragedy. However, director Michael Showalter, who also co-wrote the screenplay, takes care to balance dramatic scenes with those showing the originally neurotic, withdrawn Doris gaining confidence. Early in the movie, Showalter uses the device of having Doris attend a self-improvement seminar whose instructor (Peter Gallagher) gives her the boost she needs to pursue John, but what the director really uses are the considerable talents, both comic and dramatic, of Sally Field. Hello My Name Is Doris has a few hilarious scenes, including Doris’ stint as an album cover girl for a group called Baby Goya and the Nuclear Winters, but it’s mostly a matter of Field turning on her long dormant, infectious charm to credibly become a part of John’s equally younger circle of friends. Showalter stumbles occasionally, especially at the finish line, but frankly, any writer or director would have had trouble crafting an ending of this film that worked dramatically and maintained any semblance of credibility. But Hello My Name Is Doris is an extreme rarity nowadays, a charmingly enjoyable coming-of-age movie for a character—and an actress—whose time had seemingly come and gone.
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Carol: Mini-review


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Cate Blanchett

Cate Blanchett is stylish in any era

B+In an era in which the multiplexes are filled with CGI spectaculars and raucous sex comedies, old-fashioned romances are hard to find, unless the name Nicholas Sparks appears somewhere in the credits. So, it’s not all that surprising that Carol, the best romantic drama of 2015, is a movie that is set in 1952 about infatuation that turns into love involving two women.

Cate Blanchett plays the title character, a well-to-do, exceedingly elegant housewife who goes shopping at a New York department store for a Christmas present for her daughter. Therese (Rooney Mara), the clerk who waits on Carol, is dazzled by the older woman’s grace and charm. Later, she accepts an invitation to visit Carol at her home and, eventually, the two go on a cross-country trip together. However, Carol’s husband Harge (Kyle Chandler) does not want to let her go and use the relationship between the women as ammunition in a custody battle.

Carol is definitely a product of its time period in more ways than one. Director Todd Haynes explored socially unacceptable romances in this time period in his acclaimed Far from Heaven, but Carol is based on material of a higher pedigree, a novel by Patricia Highsmith. When the movie begins, Therese has a boyfriend (Jake Lacy) and doesn’t really question her romantic future until she meets Carol. The older woman, who has had a previous lesbian relationship, recognizes Therese’s nature before the younger woman herself fully understands. However, Carol is not a same-sex variant of The Graduate but a genuine, deeply moving love story that becomes extremely erotically charged and passionate. An at-times powerful score by Carter Burwell adds to the film’s mood. Cate Blanchett was born to play the title role, and, as photographed by Edward Lachman, she appears to glow in nearly every scene. It’s Rooney Mara, though, who has the more challenging role as she emerges from her shell during the course of the movie. Although Haynes and screenwriter Phyllis Nagy are easily able to highlight the era’s treatment of homosexuality, Carol isn’t a preachy statement film out to make martyrs of its characters. Nor is it an in-depth psychological exploration of the characters. Instead, it’s simply an old-fashioned, nearly perfectly constructed period melodrama that resonates in any time period. 
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