Fool for Love

Sam Shepard's story of obsessive love in a lonely Texas trailer park may have been a fine stage drama, but transferring the play intact from the imaginary backdrop of a theater to an out-of-doors location only makes the stage dialogue sound pretentious and artificial. Good theater doesn't guarantee a good movie, and Robert Altman's attempts to open up the play using flashbacks and fluid camera work do little more than draw attention to its stage origins, with the director's trademark slow zooming and cross-cutting giving an entirely false impression of movement and meaning (dramatic moments, including a childhood secret revealed, are subsequently lost within all the visual calisthenics). The end result is an attractive but empty experience.

"Fool for Love" is one of the several now forgotten films Robert Altman directed throughout the 1980s. This one, a screen adaptation of a Sam Shepard play that features Shepard in the lead role, just simply isn't very good. Altman made many not-very-good films over the course of his fascinating career, and many times the fault was his. But here I think the fault lies with Shepard for writing such a flimsy play. Altman's direction is assured, the performances are o.k. given what the actors have to work with, but this inconsequential screenplay goes nowhere, and takes its time getting there.

Shepard is Eddie, a stuntman who has a love/hate relationship with May (Kim Basinger). The two fight endlessly over the course of an evening spent in some dusty motel in the middle of nowhere, while a mysterious man (Harry Dean Stanton) who may be either a figurative or literal father to both Eddie and May quietly observes. Randy Quaid rounds out the four-person cast as a gentleman caller.

The only dramatic hook in the entire plot is the suggestion that Eddie's and May's relationship is incestuous. However, this hook feels more like a gimmick than anything. The screenplay doesn't explore their relationship in any detail, and it doesn't use their relationship to explore any more universal themes. Shepard and Basigner create eccentric, mannered characters who grow irritating within the first five minutes; Stanton and Quaid have little to do but provide reaction shots.

The last half hour or so of the film is especially bad, when Eddie's and May's back stories begin to play out in flashback over monotone, somnolent voice over.

Chalk this up to another of Altman's experiments gone awry.

Grade: C-

Fool for Love (1985) was directed by Robert Altman. It's based on a Sam Shepard play. Sam Shepard did the screenplay. Sam Shepard also stars as Eddie, a rodeo rider who drives up to an end-of-nowhere motel, and starts causing trouble within the first 60 seconds.

I'm amazed that this movie is so bad. Shepard is a good actor, and so are the other leads: Kim Basinger as May, and Harry Dean Stanton as "Old Man." Randy Quaid has the unenviable supporting role as a "normal" guy who arrives at the motel to take May out on a date, and ends up enmeshed in the bizarre triangle.

It's hard to believe that a brilliant director, working with such skilled actors, could end up with a movie this bad. Nothing works, except that Eddie is a menacing presence throughout. It's obvious from the first minutes of the movie that bad things are going to happen, and they do throughout the film.

It's also obvious that Altman needed to open up the play so that he could turn it into a movie, and he did. He didn't do it all that well, but he did it.

It's clear that people didn't like the film. At the time I'm writing this review, the IMDb rating is a horrific 5.9. (I actually helped improve the rating when I gave the film a 6. That must be a first.)

The movie will work well enough on DVD, which is how I saw it. It would probably work better on the large screen, because you'd get even more of a sense of the total isolation of the motel location. However, my advice is to pick another movie. Fool for Love just isn't worth the time spent watching it.

Interesting, laid back version of the Shepherd play. On stage, with Ed Harris in the lead, it was all frenetic energy and danger. Here the piece is more moody and dreamlike. At times that works tremendously well, and it is visually beautiful. The play has been opened up in a way that feels natural and not forced. And the use of narration is very interesting and productively unsettling, since the memories we see do not quite match the words we hear.

On the other hand, the slower pace makes the writing feel more melodramatic and almost old- fashioned in its twists. And Shepherd is nowhere near as interesting as Harris was on stage. We never feel that he is really dangerous. He comes off more as a love-struck kid than obsessed man. And it ends with a whimper, not a kick. Still, there are plenty of less interesting theater to film adaptations out there.

Adapted from Sam Shepard's play, this movie retains many play-like elements such as a relatively fixed setting (a roadside 50's motel in the Southwest) and extensive, intriguing dialogues. A woman "May" is hounded by a man "Eddie" (played by Sam Shepard). She tries to hide from him in the out-of-the-way motel, but he finds her. The film explores the history of their relationship, mainly from their childhoods, that has led them to this point. It's very easy to feel sympathy for the characters and to understand that their dysfunctional present relationship is a result of past events out of their control. We mainly watch them fight, make up, fight, make up and so on. One image that stands out in my mind, is of Eddie hauling May over his shoulder kicking and screaming, taking her somewhere she doesn't want to go.

The soundtrack is also perfect soulful country with vocals by a lesser known artist "Sandy Rogers". She has this country doll voice that almost yodels at some points in the album! This is the kind of movie that will stay lodged in some part of your brain/soul. In other words, go see it!