Le prince des marées

As Billy Crystal quipped during his Oscar presentation song, "Did this film direct itself?" Barbra Streisand, producer, director, and leading lady in The Prince of Tides was almost completely snubbed at the 1991 Academy Awards. The film was up for Best Picture, Actor, Supporting Actress, Music, Adapted Screenplay, Cinematography, and Art Direction, but she wasn't honored for her beautiful directing. From the opening scene, it's clear a professional with a vision is at the helm. Nick Nolte narrates through a scene of his childhood: he and his siblings run from home while their parents are fighting, jump off the dock into the water, and hold hands in a circle. "We found a silent soothing world where there was no pain. A world without mothers or fathers. We would make a circle bound by flesh and blood and water and only when we felt our lungs betray us would we rise towards the light." Three little heads pop up from the water's surface, and the opening titles start. It's truly beautiful.

There are so many scenes in The Prince of Tides that are moving and memorable, and they greatly outshine the less-than-stellar elements of the film. Nick Nolte plays a family man whose family life isn't particularly stable. He's spent a lifetime burying the secrets of the past, but when his sister, Melinda Dillon, tries to commit suicide, he travels from South Carolina to New York City and meets her therapist, Barbra Streisand. He and Barbra frequently clash, and while he is given very good lines to say, the way he says them is even better than they were written. He's quick to raise his voice, and when he does, it's clear he's releasing decades of pent-up emotion through his throat. Even when he's being a loving father to his three children, you can see the unresolved tension on his face.

You'd think it would be impossible to play against Nick's powerful performance and not give a very good one, but Blythe Danner proves my supposition wrong. She looks very pretty and has an absolutely adorable hairdo, but her acting leaves much to be desired. Then again, when you're watching Nick Nolte-who lost the gold to Anthony Hopkins for sixteen minutes of The Silence of the Lambs-you don't really care about Blythe Danner. Kate Nelligan, who plays Nick's mother, does do a very good job, so if you're a fan, you might want to see her only Oscar-nominated performance.

Normally, I don't really like movies that flash back and forth between the present and the past, but it's only because most directors don't handle the transitions very well. Ms. Streisand masters the difficult task, and every time the film flashes back to Nick's childhood, it's in an inventive, intriguing style. The "dual timeline" narrative is extremely popular nowadays, so if you like that style, you'll be in a great position to appreciate this marvelously crafted film. Before you rent it, though, just know that it's very heavy. You'll probably need to bring your Kleenexes, and you'll feel unsettled more than once. You might not want to watch this with your parents, and you should definitely put the kids to bed before movie night starts. It's extremely heavy.

My one problem with the film is the upsetting scenes involving child actors. I've always maintained that Hollywood should pass a "child labor law" where if a child is under the age of fifteen, they cannot be employed; instead, a computer-generator child actor should be used. I could go on for hours about the damage acting does to children, but I'll refrain. In 1991, computer technology wasn't very advanced, but I still feel the child actors should have been used as infrequently as possible. I recently read Ms. Streisand's memoir, and she insisted the section I'm referring to be included in the final screenplay. There were versions that wouldn't have used the children as much, and I firmly believe the movie would have been as effective if the section were revealed in dialogue with Nick instead of a visual flashback with the child actors. I'm sure there are audience members who disagree, but I just can't watch this movie (I've only seen it once) because I think of the emotional repercussions of the children. Besides that, Ms. Streisand's directing is flawless, and during the Hot Toasty Rag Awards, the board members proudly and unanimously awarded her Best Director.

Kiddy warning: Obviously, you have control over your own children. However, due to upsetting situations involving children and adult material, I wouldn't let my kids watch this movie. Also, there may or may not be a rape scene.

I have to admit that although I'm a great great fan of Barbra Streisand (having seen all her films) I unfortunately hadn't before this month the chance to watch this particular film.

First of all there's always the problem what one wants; to read the book or watch the film but since I then didn't own the book I had to see the film and indeed it made a huge impression on my. The cinematography and casting is superb and now after having read the book I realize that although a lot is left out in the film it wouldn't have been possible to include all the details of the book in the film.

Although it's a typical "Hollywood" film it has a deep sense of beaty and tragedy and I do believe that the film includes the most essential parts of the book in its own right. Of course we don't for instance hear a bit about the great grandmother and her life, nor her biblical husbond and certain parts of the book are changed in the film.

However it's a film that makes sense; tragedy, love and the southern way mixed in a very particular way and that especially is what, from my point of view, makes the film great. It's not just a funny or boring one, it really has something to tell all of us.

I do also feel that it shows the southern way of life in a very true manner although it can be strange compared to other places in the US we really here get to see what the southern parts of US is all about.

Barbra Streisand also in this film, as in all other ones where she appaears, is great; that lady really has talent and she knows it! Being a fabolous singer and a fabolus actress at the same time is quite somethng so again...bravo Barbra you're one of the absolutely best actresses.

The Prince of Tides is an exceptional movie! It is filled with emotion, humor, adventure, and pathos. Nick Nolte is the heart of the film. He is a broken man, covering up for the past, trying to please his family, but unable to open up and absolve himself of the dysfunction of his past life. He travels to New York to try to help his sister by uncovering what he has been hiding, with the help of a psychiatrist (Barbra Streisand). He is enchanted with her, and is therefore able to open up and reveal the secrets deep within his heart. The emotions that Nick is able to impart to his audience is a joy to see. I learn more about him every time I view this movie. He is a versatile actor and is truly underrated. He DEFINITELY deserved the Oscar for best actor for this difficult role. Barbra Streisand was fantastic as the psychiatrist who had her own secrets, and her son Jason was terrific as the rebellious son who wanted to please his father, but who needed to find himself by taking on the challenge of playing football. I never tire of this movie, and each time I view it, I get more out of it. The "Prince of Tides" has everything I want in a movie, and if I were to rate it, I would give it 4 stars.

I have seen this movie many times and it always holds me. Its rhythm, cinematography and casting is perfect and the story never fails to deliver.

Tom Wingo, played by Nolte in an all-time best for him, has to go to New York to help his twin sister, Savannah Wingo, played by Melinda Dillon who has attempted suicide for the umpteenth time. Tom is aware there are ghosts in the family but wants to keep them submerged. However with the love for his sister and the encouragement of her psychiatrist, Lowenstein, played by Streisand, the truth begins to unfold along with a love between Lowenstein and Tom who are both in unhappy marriages.

There are no easy solutions here to the many issues that are raised, suffice is to say that Streisand, who also directs, keeps a gentle hand in and does not wham home any major emotional points. George Carlin is deft in a minor role, as is Blythe Danner as Tom's wife. The film never fails to pack a punch for me.

9 out of 10. Kudos to all, not a false note.

Throughout the 80s and 90s, Barbra Streisand has grown in stature (albeit sporadically) as a formidable producer and director of social drama for both films and TV. The apex of her behind-the-camera career came with "The Prince of Tides," a poignant study of a man coping with the long-term effects of childhood trauma. Streisand nurtures this pet project from start to finish (co-adapted by Pat Conroy from his epic novel), finding a precise heartbeat for the profoundly sentient piece. Despite a rather protracted love story and one too many climaxes, Streisand, who also co-stars, never loses sight of the novel's primary intent.

Streisand graciously hands the spotlight over to actor Nick Nolte, who gives the most sensitive, emotionally complex performance of his varied career. Tom Wingo is a walking shell of a man who quells his pain with a drink, an easy smile, a cleverly foul remark, and a bitter, uncontrollable outpouring of anger. A one-time Southern-bred football coach-turned-teacher, he has grown increasingly irresponsible and disconnected over the years. With a troubled marriage hovering over him, he conveniently heads off to New York City at the urging of sister Savannah's psychiatrist, Susan Lowenstein, following his twin's most recent wrist-slashing attempt. His purpose is to fill in the missing details of her tormented past (she has blotted out all childhood memories) in order to help steer the psychiatrist in her recovery process. Eventually, Tom, who lacks faith in psychiatry, finds himself facing his own demons as these initial discussions about Savannah take a suddenly dramatic and romantic turn.

In addition to Nolte's Oscar-nominated showcase, much of the film's strength lies in the highly concentrated flashback sequences as Tom recalls his turbulent family life. Kate Nelligan (also Oscar-nominated) is simply extraordinary as Lila, Tom's brittle, often callous mother, who quite understandably vows to remarry into money after surviving a horrific first marriage to Tom's violent, alcoholic, dirt-poor father (played by an absolutely terrifying Brad Sullivan). Nelligan grabs this role literally by the throat and allows her character no apologies for her flawed, self-serving logic, despite the effects it would have on her children, as her wealthy second husband starts exhibiting the same abusive traits as the first. Kudos must also go to the three strong young actors who play the Wingo siblings as children for reenacting the more horrific elements of this story.

Some of the other present-day roles, however, are hit-and-miss in their effectiveness. Blythe Danner has some strained though affecting moments as Tom's neglected wife. Sadly, the vital role of Savannah is nearly excised from the film. What with the talented Melinda Dillon egregiously reduced to such an insignificant extra, one can only rue the dramatic potential untapped here. As Savannah's neighbor and trusted friend, George Carlin seems to be around merely to show off New York gay chic -- providing mild amusement, a bit of pathos, and little else. On a brighter note, Jason Gould (Barbra's real-life son) acquits himself surprisingly well in the difficult role of Lowenstein's antagonistic son who slowly bonds with Tom's absentee father figure -- showing for once that nepotism isn't necessarily blind or reckless. Dutch actor Jeroen Krabbé gets brief but noticeable exposure as Herbert Woodruff, Lowenstein's charming, smug-elegant husband, a renown concert violinist who demonstrates more affection for his Stradivarius than either his wife or child. There is one telling dinner scene at his opulent Manhattan high-rise in which the out-classed Wingo gets to put Woodruff in his place.

As for Streisand herself, many will invariably take her to task for casting herself in the fundamental role of Susan Lowenstein. A star of such magnitude always faces the daunting task of presenting a fully- realized character, and Streisand is only marginally successful here. Although there is undeniable sexual chemistry between her and Nolte, it's hard to overlook her somewhat glossy approach to the role and the unethical intentions of her character. One can only imagine the ramifications of such a harmful act had her suicidal patient ever uncovered the illicit affair between her brother and psychiatrist.

Director Streisand, however, must be applauded for her explicit attention to exterior details. A visually resplendent picture, great care was taken to get the right look and feel. Notice particularly the lovely allegorical scenes with the children at the beginning and end. And with Streisand's exceptional musicianship, it is hardly surprising that James Newton Howard's lush score is one of the most beautifully designed ever (in fact, I borrowed it for my own commitment ceremony in 1996). It floods the film with an unexpressible tenderness. Nick Nolte's bookend narration is perfect as well -- warm, wise, poetic and reflective.

And so, despite the flaws "The Prince of Tides" may have, Streisand certainly shows that her heart was in the right place.