Goldie Hawn

  • Death Becomes Her (1992)

    Death Becomes Her (1992)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2016) I remember seeing bits and pieces of Death Becomes Her before (especially the special effects work) but not the entire thing and having watched it, I can only conclude that Hollywood’s become far more risk-averse in the past twenty-five years because … wow, this is a weird film. It blends comedy with a fair bit of understated horror, hops viewpoints between protagonists, plays with supernatural tropes and seems delighted in deglamorizing its stars. Seeing Bruce Willis play a downtrodden surgeon is remarkable not only because he’s relatively animated in the role, but because it’s the kind of self-deprecating role he’d never play any more. Goldie Hawn (occasionally in a fat suit) and Meryl Streep (gamely going to lowbrow physical comedy) also play against persona, carefully directed by Robert Zemeckis with the kind of silliness that seems absent from the last two decades of his work. What’s definitely within his filmography is the film’s use of special effects for storytelling purpose: While dated, the work still carries a certain charge even today, and it’s not a surprise to find out that it won the Special Effects Oscar back in 1993. Beyond effects, Death Becomes Her does have a bit of beauty/age thematic depth to it, although I probably would feel better about a clash between aging actresses had the script been better at portraying the female gaze: At times, the “ha-ha, they’re so vain!” gags can feel mean-spirited and missing the point of the theme. But it’s definitely a weird film, also so much so that it’s to be discovered and savoured. It takes chances, occasionally missteps and often dares to indulge in risk-taking humour. The result may not be entirely successful, but it’s gleefully audacious and remains its own creation, without giving the impression of being photocopied from the Hollywood mainstream. Worth a look, if only as a reminder of the kind of stuff that Hollywood won’t dare touch these days at it chases predictable results.

  • The Out-Of-Towners (1999)

    The Out-Of-Towners (1999)

    ByChristian Sauvé Movie Review

    (On VHS, June 2001) Midwest yokels come to New York City and are quickly out of their depth! How funnier can it be? A lot funnier, easily. Goldie Hawn and Steve Martin reprise their usual screen personae, adding nothing and screaming a lot with scarcely any indication of how good they can be in other types of roles. John Cleese is a hoot as usual. The various plot points are pretty much predictable in advance, and aren’t all that skilfully executed either. For a film about New York, there isn’t a whole lot of scenery. There have been worse films, there have been better films, so there isn’t any cause for concern if ever you pass by The Out-Of-Towners and don’t pick it up.

    (Second viewing, in French, on Cable TV, December 2018) Watching The Out-Of-Towners remake right after the 1969 original only underscores how much more slap-sticky is the remake. Gone are the more serious undertones and barely-repressed desperation of the original. Instead, we get Steve Martin and Goldie Hawn hamming it up as much as they can stand. The result actually is reliably funny, although unsubstantial to a point where I didn’t even realize I had seen the film seventeen years ago. One good point in favour of the remake: the much more active role given to the female lead — it sure helps that Hawn can be reliably funny on a dime. There’s a surprising cameo appearance from pre-America’s-Mayor, pre-Crazy-Pundit Rudy Giuliani.