Fandango

"There's nothing wrong with going nowhere, son. It's a privilege of youth": I think this quote may best summarize "Fandango", which gives much to think about, also in comparison to what is considered the first of all road pictures, "Easy rider". The myth and the out of time fashion of these road trips along US highways, still today pulsing with sense of liberty, is an element of attraction for the public of every time, mainly if accompanied by some good and emotionally powerful music. "Easy rider" was set in the 60's, when the myth of liberty was at its height, it was the celebration of the hippie era, of an ideology and watching it after 40 years, conveys a sense of tenderness towards the ingenuity of these bikers going nowhere, believing in freedom from all constrictions but unconscious of what they were really looking for. "Fandango" is set in 1971 but shot in 1985, US and universal history have taught a lot of things, and what is evident there, mainly in contrast with "Easy rider", is the deep consciousness of these mates, they perfectly know what they are looking for, they want to escape from what is hanging over their future lives, knowing that the myth of life on the road has lost all credibility. It is more a celebration of youth, of an age when you think that friendship and fun will last for ever, but you know that time must come to an end, and you need to do something, in this case an unforgettable road-trip, in order to postpone that end and escape from the forthcoming adulthood. Fandango, although extremely funny, almost irreverent, in situations and dialogues, leaves traces of deep nostalgia, and melancholia, pervaded as it is by such fear about life, in terms of responsibility, burdens, troubles. The skydiving adventure meant as the most extreme searching for life, and a desperate way to exorcise the coming of adulthood, is the most effective moment of the movie. Fandango shows some clichés, which however are part of this kind of movies, it is deeply American in the passionate way it celebrates life, freedom and the feeling of being "born to be wild", through a strong visual impact. However, it is undoubtedly entertaining, moving, thought-provoking, and emotionally engaging: really worth seeing, at least only for the wonderful locations, which frame very good performances, mainly a young and deserving Kevin Costner.

A very underrated and under-seen film - thanks to the clods at Amblin (presumably because no one in the cast resembled an alien). Great acting, writing, and directing (from Kevin Reynolds). One of the only films Costner has ever acted in where he didn't resemble a stick of wood. I love this movie through and through. The sky diving scene (which is apparently what the film is built around, Reynolds' student film 'Proof') is fantastically funny from beginning to end. Marvin J. McIntyre is a true hero. GREAT soundtrack from beginning to end. The opening credits alone are worth the price of the rental. And the climax scene at Waggner's wedding is one of the most romantic and sensitive wedding scenes ever committed to film.

Don't miss it.

Quite simply the best film I've ever seen and as someone mentioned earlier, the `perfect' film. I've never known a film to captivate me to such a degree, and by the time Kevin Costner holds aloft his farewell beer at the end, you feel as though you're saying goodbye to a lifelong friend. There are so many scenes throughout which seem so uncannily familiar that its almost eerie, yet so comforting to watch. In those final few minutes, you're treated to some of the most beautiful scores that you could possibly wish to hear, a handshake that could tell a thousand words, and a stunning landscape which is the final destination for a group of friends who make the perfect combination. This will always be more than just a film to me. It's a key to unlock all those wondrous emotions that you once experienced many moons ago.

It starts looking cool enough, I thought, although not overwhelmingly original: under a blue, blue sky, four young guys, as different as can be, drive to seemingly nowhere in a beautiful car from the roaring fifties. Singing, drinking, screaming. It looks like they're having a lot of fun, which of course will prove to be a doomed mood: their lives are suspended between youth and whatever comes next, just like them driving in the middle of Texas' desert landscapes with the unlikely goal of attending one of the mates' wedding... Everything is on the verge of changing for them; their friendship, the way they lead their lives, the way they consider the future.

What Kevin Reynolds achieves here masterfully is making the whole thing look, at first, like just another buddy-movie. Yet I think there is a lot more to it. Fun, slapstick, grotesque situations, and still, every time or so, we're given a hint that those people have no idea where they're going, that they try to ignore the (real) world that's waiting for them.

The one most representative of that borderline state and who remains, by default, the big brother telling the others where to go next, is Gardner Barnes, played by Kevin Costner. Very young-looking (to whoever, like me, hasn't seen him in a picture made 16 years ago), he radiates a kind of natural quality, telling us he may just be the most frightened and unsure one of those four mostly-losers. Anyone who has apreciated Costner in at least one movie should definitely have a look at this one.

There'll never be anything even remotely tragic in this story, nor any solid insight into any of those old kids. Not even into Gardner, the one with a haunting love on his mind, who claims he's never token a woman seriously. Some moments might strike you as either clichee, heavy or childish... Yet, after the finale, Reynolds has gotten us where we're supposed to be: feeling the dry cut apart from the time where our dreams where, to ourselves, a solid option for what our future might look like. The loss of what kept the world together until this very moment.

I should add that, having listened precisely in my beginning twenties to the Pat Metheny Group like mad, I was totally taken away when the whole wedding scene appeared to be choreographed around two of his magic compositions.

This movie has something fresh, universal, sincere. It's full of ideas and benefits from a truly inventive photography as well as a from a perfectly well-tuned rythm.

Anyone on a day where he feels up to re-live those cheers AND nostalgia, in the company of a bunch of excellent actors, would do himself a favor by taking a while to watch it. And, maybe, reconciliate with that little mix of sadness and joy we think we should have left behind us.

"Fandango", defined at the outset as either a dance, the music for same, or a foolish act, is nothing if not very appealing, capturing a point in the lives of young mens' post-college lives when they have to decide What to Do Now. Gardner (Kevin Costner) prefers to remain rootless, although he and Kenneth (Sam Robards) have both been drafted to serve in the Vietnam War. Kenneth, however, was supposed to get married, and thinks that he has to call it off now. Together with their friends Phil (Judd Nelson), Dorman (Chuck Bush), and the barely seen Lester (Brian Cesak), they head off on the obligatory One Final Great Adventure before they go their separate ways.

This marked the feature filmmaking debut for young Kevin Reynolds, whose student film "Proof" was expanded for theatrical release under the sponsorship of Steven Spielberg (whose recently formed company Amblin produced the film). A truly great film it is not (not every episode is equally compelling), but it's still quite engaging and impossible to resist. It's certain to be relatable to people of a certain age, no matter what era they've occupied (the films' story takes place in Texas circa 1971).

The characters are generally quite interesting to watch, especially Costner, who shows that he can make the most of the situation when given a reasonably colourful role. (Still, his character remains refreshingly human, never turning into a cartoon or caricature.) Nelsons' work is equally impressive, although Phil is the kind of uptight, fastidious guy who could easily wear out his welcome. Fortunately, he becomes more endearing as the story plays out. And Robards is equally ingratiating. Bush doesn't get much to do that's interesting, however, and Cesak is stuck in the ultimate thankless role.

The lovely ladies present get their moment to shine, too: Suzy Amis, as Costners' unnamed girlfriend, Glenne Headly as Trelis, and Elizabeth Daily & Robyn Rose as two "jailbait" girls. Stealing the show for a large chunk of the running time is character actor Marvin J. McIntyre, who'd been in "Proof" and reprises his role here: eccentric diving instructor Truman Sparks.

Accented by lovely Alan Silvestri music and vibrant rural photography, "Fandango" adds up to an appealing way to spend just over an hour and a half. It can boast one striking finish, as the residents of a small town come to the aid of our heroes. In the end, it leaves us with pleasant smiles on our faces.

Seven out of 10.