Review of One from the Heart (1982) by Nathan W — 02 Aug 2004

One From The Heart -.

A very apt title. This really does feel like something straight from F. Coppola's heart. He reaches into cinematic history and looks to cinema's future all at once. This by itself is cool, but what sets it apart is that the story inside of it is also very good: touching, poignant.

Raul Julia is a hoot, and Nastassja Kinski manages to make a character that is hot, but somehow it seems believable that she could get the urge to go with a guy who looks like Frederic Forrest. And what a relief, to have a romantic lead who looks like him - somewhat normal.

The dancing doesn't have the technical excellence of films like Singin' In the Rain, White Christmas, All That Jazz, etc. but the choreography is quite passionate, and the subdued nature of it makes it easy to relate to. This film is the life we feel ours might become, at the turn of a dime. If something amazing... something dramatic happened.

Plus, the film is magnificently shot and directed, fantastically edited, etc. The only problems I have were a bit with the screenplay and a touch with the characters, but they are really just minor things. Wholeheartedly recommended.

Oh, and occassionally the music is a bit intrusive, but on the whole it's splendid and matches the visuals brilliantly. And the airport scene is amazing.

The Lost Boys -.

In the first half it succeeds as an entertaining look at eighties camp. Plus, Kiefer lights up the screen as a campire. A campire, being of course, that certain type of vampire that doesn't attack immediately, but rather hisses at the screen and menaces, to give our heroes time to win.

After that, the film stalls, and the flaws become apparent. Structurally, the film is the sort of thing Syd Field would adore, which makes it pretty predictable (although I doubt that even he would praise this film's dialogue). The film has beginning, middle, end, complete with plot point 1, 2, midpoint, etc. But it all adds up to less than a hill of beans, because the film is so obvious in its structure that nothing feels spontaneous or alive. It's a neat trick that the subject matter matches this undead film.

Worth watching for the unlikely astrological conjuction apparent in the two Cories meeting on screen. And Kiefer. And the camp hilarity. And there are a couple of good shots.