Amor e Boemia

REUBEN, REUBEN ****1/2 Tom Conti's role--Gowan McGland, a philandering Scottish poet suffering from writer's block and a depression--is drinking away his fears and tears in wanting something more. He finds fulfillment, however, on one of his gallivanting book tours when he falls in love with a youthful, spirited college student named Geneva. The impressive turns from Conti, Kelly McGillis (debuting here as Gowan's girlfriend), and Roberts Blossom (as Geneva's grandfather) are a must-see, but it's Julius J. Epstein's screen writing that drives the picture. This film, which opened in New York with a bang but petered into obscurity extremely quickly, will intrigue, humor, and often surprise you. Rated R. 1983

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On paper, a comic fable about a randy, drunken, fading poet sounds like a recipe for disaster, but to the enormous credit of all involved, this film works very well indeed. Obviously a strong central performance is essential in films like this, and Tom Conti provides just that as the bedraggled Scottish writer charming his way into the beds of frustrated New England wives. Although the screenplay is consistently witty from start to finish, it is mainly in the second half of the film that it is also extremely moving. The romance between Conti and Kelly McGillis's young student is as obviously doomed as that of Romeo and Juliet, but just as heartbreaking too. The denouement is as sad and shocking as any in cinematic history, yet this film with its warmth and beauty and insight will surely light a fire in even the coldest of hearts.

This film is a delight from first frame to last. Tom Conti delivers an Oscar-worthy performance, and after seeing this movie you'll be wondering why you haven't seen more of him in the ensuing years. One memorable scene after another and some lines of dialogue which have been indelibly imprinted on my brain ever since. I had a hard time finding this film on tape. A shame that so many inferior movies can be had by the bushel, and gems like this get lost...

This movie wasn't just written by Julius Epstein - as executive producer, and with another Epstein co-producing, he clearly midwifed it as well. So this would be a fairly unmediated labour of love from the man who penned Casablanca 40 years earlier, and damn if I don't like it better than Casablanca - if there's one thing I wanted to see it's a portrait of the lapsed poet as an old womanizing souse. Making him a Scot run amuck in New England is another great touch, gives the milieu a specificity you don't see every day. And that's not mentioning Tom Conti's very specific, and brilliant, performance - no wonder he never did anything comparable, he LIVES inside this thing. His hilarious portrayal of the sad-eyed loser Epstein has written him is the opposite of maudlin. As his doomed infatuation with young 'un Kelly McGillis approaches its inevitable demise, you wonder how on earth they are going to wrap things up - redemption would be corny, but despair would be hopeless and wrong. The answer he comes up with is a head-spinner, but it's also a perfect answer to this dilemma, and answers your lingering questions about the movie's name.

If you are not familiar with movie history, then you do not know that thousands of films have been lost over time, from the silent era onwards. And many of these movies were landmarks, because they so perfectly captured a unique time or place, or because of technical achievements or great acting. Some lost movies were even blockbusters in their time but then began to seem dated and were quickly forgotten. Reuben, Reuben is an example of a relatively modern movie that is getting that age old treatment.

Tom Conti gives a brilliant performance in this movie, and the supporting cast is great. The screenplay and direction are brilliant. And the subject matter is meaty, something adults can think on and discuss seriously. So, why is this movie virtually unheard of now?

Reuben, Reuben is of its time - the early eighties - just before excessive style, slickness, and silly 50s-style moralism and hokeyness took hold. A number of brilliant movies were release in 1983 alone - Educating Rita, Local Hero, The Big Chill, Terms of Endearment. This was a period when story telling was paramount, and movies unfolded gently, with a respect for both real and theatrical time.

I have come to believe that many of these great movies are slowly being forgotten on some conscious level; we the viewing public does not want to remember the best, as it will make us realize the amount of dreck that is now released, and make us maudlin and mournful. This pleases the movie industry no end - it would prefer to have us come back again and again for sugary confections rather than supply us with something nutritious into which we can sink our teeth.

Hopefully, the Internet and sites like IMDb will help to promote near-forgotten gems like Reuben, Reuben, encouraging young movie fans to seek them out and then spread the word of their excellence. And, possibly, with growing recognition of really good cinema, the movie industry will not be so careless and neglectful.