Unhook the Stars (1996) Directed by Nick Cassavetes
Drama / Romance
Film Review
Nick Cassavetes' debut work as a director is this accomplished bitter-sweet film, Unhook
the Stars. Occasionally funny, sometimes intensely poignant, this is a low-key
film which skilfully manages to avoid sentimentality, and is all the better for it.
The adept blend of comedy and drama makes surprisingly entertaining viewing. What
is particularly pleasing about this film is the way that it defies your expectations.
Just when a familiar American stereotypical attitude, character or situation appears,
something unexpected happens to surprise and challenge the viewer's expectations.
In some ways, the film is a subtle yet uncompromising satire on the cosy American lifestyle,
with its false values and flawed certainties.
Gena Rowlands' performance as the central character Mildred
is a magnificent tour-de-force that contrasts perfectly with
Marisa Tomei's hyperactive, neurotic Monica.
The strong American line-up is joined
by the legendary French actor Gérard Depardieu, playing a Canadian lorry driver
- he brings more than few moments of dramatic intensity to a film that
plays far more on the emotions than on the intellect. In narrative terms,
there is very little to the film and what there is shows a distinct lack
of logic and coherence. The overpowering performances more than make up for this
and the end-result is an amiable, unpretentious romantic drama
that can hardly fail to please.
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Film Synopsis
An ageing middle-class widow, Mildred, finds herself alone when her rebellious daughter
storms out of her home. Her life takes a new and unexpected direction when a neighbour,
Monica, asks her to baby sit for her young son, J.J., after her husband walks out on her.
Although they are complete opposites, the two women form an immediate friendship and Mildred
offers to look after J.J. on a regular basis. Through Monica, Mildred discovers
that there is more to life than caring for others and it is about time she started to
think a bit more about herself.
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
In his letters to his friends and family, Franz Kafka gives us a rich self-portrait that is surprisingly upbeat, nor the angst-ridden soul we might expect.