Some Girls

Love is in the air. Be it true love or merely puppy love, it is ever-present throughout the film, Some Girls. Starring both Patrick Dempsey, as Michael, and Jennifer Connelly, as Gaby, this movie contains something for everyone, depending on how insightful the viewer chooses to be. It can be taken as simply a hilarious comedy or a genuinely profound portrayal of love and human nature; the viewer is given this choice.

As a comedy, Some Girls plays on Dempsey's vulnerabilities, or in other words, the fact that he is a teenage male that has yet to figure out women. Michael, continually rejected by his quondam love, Gaby, is repeatedly taken advantage of by Connelly's on-screen sisters, Irenka and Simone, and he inadvertently falls in love with Granny. Dempsey's naivety gets him into a countless number of awkward situations with the women of the D'Arc family, such as winding up in bed with them and getting caught in the nude, which adds to the humor of the movie.

The love that Michael and Granny feel for each other is a transition between the comical and the symbolic sides of this film. In the wonderfully set-up scene where Michael undresses Granny, the viewers start to feel uncomfortable when they realize that Granny isn't going to be innocently nude. She enjoys the attention, and because this type of sexual encounter is not socially accepted, it causes unease. Due to the discomfort that this scene causes in the viewer, it becomes humorous that this teenage boy is undressing this old woman who is quickly falling for him. However, it is not humor alone that is at work here. This scene sets up the rest of the movie and allows for true love to blossom.

Although Michael went to Quebec to see his "love", Gaby, he fell in love with the last person that he expected, or even desired to fall in love with: Granny. The two of them became unbelievably close during the film and developed a love deeper than the one that he had only imagined forming between him and Gaby. There love was true love, despite the fact that Dempsey tried to push it aside at the very beginning. However, Michael let up his guard, letting himself fall madly and deeply in love with Granny, the woman he could never have due to both society and mortality.

For the movie aficionado who loves symbolism, Some Girls is a wonderful choice of movies. It is a film that can be watched over and over again and something new will occur to the viewer each and every time that it is watched. The viewer may discover what Botticelli's Three Graces, who appear several times during the film, have to do with the three D'Arc sisters or maybe why Beowulf jumped out of the window with the clock in his mouth. He or she may realize why the unicorn tapestry covers Gaby's bedroom door or why the girls' father feels that he must write in the nude. The viewer may realize that the film both begins and ends with water and why that fact is so important. In order to appreciate these things, however, the movie must be watched and it must be watched more than once.

Some Girls is truly a structural masterpiece. It appears as if in every scene, there is some hidden symbol, or underlying idea, that makes the film multifaceted instead of just straightforward and simple to understand. The details make the film an extraordinary one instead of just an ordinary one. The flashback scene exemplifies the structural merit better than any other scene. It is perfectly choreographed, with the time being split between the car scene and the window-closing scene well enough to keep the viewer on the edge of his or her seat. The flashback went from the peacefulness of the window closing to the frenzied ride to the hospital without falter. Another wonderful scene that demonstrates the film's magnificent structure is the scene in which Michael and Granny are alone in the old abandoned house. Nothing whatsoever prepares the viewer for what is about to come, and it is better left that way. It merely shows love in its purest form.

In the same way that Michael receives something that he didn't expect from going to Quebec, the viewer receives something that he or she probably doesn't expect from the movie. Michael learns what love is all about and the viewer learns what great films are made of. By the end of the movie, Michael has changed for the better. He has matured, learned a little about women, fallen in love, and maybe even gained some religion from his experiences. He left the three women of the D'Arc family, and moved on to the woman of the Lumiere family. By doing this, he moved from the darkness to the light, as their surnames symbolically imply. Hopefully, the viewer can do the same if they take the time to watch this exquisite film.

In struggling to decide what this film wants to be but never quite is, the best I could come up with was a Noah Baumbach film. Quirky but not quiet quirky enough to feel original. Tracing what is basically an internal personal journey only to where exactly or why is never clear. Dealing with eccentric characters who might be colorful and entertaining but in fact seem self-involved and annoying. Probably the most interesting thing about the movie is seeing Patrick Dempsey looking way more like Jesse Eisenberg than anyone resembling the (apparently) dreamy lead he is today. Which prompts me to think that the film has hints of "Adventureland" as well, but without that film's clarity.

This is one of my all-time favorite films. It was too subtle and philosophical to make it in the mainstream. The various 'love' themes between sisters, mothers and daughters, husband and wife are all beautiful. But the love between the boy and old woman - a love that spans lives and time - goes beyond touching; it's eternal and amazing. Other than the Granny's accent being Russian and not French, I found the movie flawless! Wish it came in DVD!

From its inception, the cinema has always attempted to identify itself as a form of art. While there can be little doubt that many movies over the years have indeed earned this claim, most films released in recent years would cause the viewer to wonder whether the images on the screen were indeed the work of an artistic director and cast, or simply bombardments of entertaining images aimed at mindless audiences eating stale popcorn. For those seeking to renew a confidence in the fading notion of the artistic motion picture, `Some Girls' (1988) is a must-see masterpiece.

`Some Girls' is the bizarre yet thoughtful comedy which centers in on the experiences of a young and naïve character named Michael, one of Patrick Dempsey's first roles. Michael is thrust into a whirlwind of confusion and emotion from the minute he arrives in Quebec to visit his girlfriend, Gabriella D'Arc, played by Jennifer Connelly, during Christmas break. He is immediately confronted with a dizzying array of bizarre events, beginning with an abrupt statement by Gabriella informing him that she is no longer in love with him, but nevertheless wishes for him to stay at the at the D'Arc's home (a chateau which is an architectural delight).

At dinner the first night, Michael is introduced to the rest of the D'Arc family, one of the most unusual and dysfunctional and families one could ever dream up. Michael's eyebrows are first raised when he meets Mr. D'Arc, a hilarious part played by Andre Gregory, Gabriella's perpetually naked father, who is an eccentric philosopher obsessed with the works of Pascal. He also meets Gabriella's strict Catholic mother, the family's priest, and Gabriella's two sisters, Simone and Irenka, played by Ashley Greenfield and Sheila Kelley, respectively.

The comedy develops as the sexually frustrated Michael continues to pursue Gabriella in a desperate attempt to regain her love, while unsuccessfully trying to fend off the constant advances of her two sisters seem to be more than willing to engage his appetite. More often than not, Michael finds himself in compromising (yet unfulfilled) situations with one or more of the three sisters, only to be caught, usually in the nude, by Mr. Or Mrs. D'Arc (or even worse, the dog, Beowulf). The story sharpens with an unexpected twist as Gabriella's maternal grandmother, played brilliantly by Lila Kedrova, is introduced. Granny, mentally and physically decrepit, escapes from her hospital into the wintry wilderness north of Montreal, which leads to an all out search and rescue operation undertaken by the family, with Michael tagging along for the ride.

In the end, it is Michael who finds Granny (or rather, Granny finds Michael), who confuses him with her late husband. In a series of scenes that are uncomfortable and yet compelling, Michael gains a new perspective on both nudity and love. Even though Granny seems confused about who Michael is, there is no mistaking the both the depth and simplicity of her words. While Michael's romantic mishaps and the D'Arc family's antics are enough to make the movie funny, the scenes with Granny are the ones that dominate the film and give it meaning.

Directed by Michael Hoffman, Mark Bentley, and Robert Redford, `Some Girls' is filled with more symbolism than any other movie in recent memory. The rich and profound imagery is a currency which is well spent throughout the entire film, all the way from the names in the film, (Beowulf, Lumiere, etc.) to the displays of classic works of art such as Unicorn tapestries. The most dominant symbol in the movie is Botticelli's `Three Graces,' a painting which graces the cover of the movie. The symbol is fully revealed in the last scene of the movie, where the camera pans up to the painting, which has served as the backdrop in the airport as Michael says goodbye. In that instant, the three D'Arc sisters are enveloped in the lore of the Three Graces of mythology, innocent goddesses of revelry and love; the personifications of feminine charm and beauty. Greek mythology ascribed to the Three Graces (or Charities) the creative power to inspire works of poetry and art. How fitting for a movie which is truly a work of art in and of itself.

`Some Girls' is not only rich in character and symbolism, however. It is also the canvas for a brilliantly woven set of themes, including love, sex, nudity, life, and death. Each of these themes, most notably nudity, is explored in great detail during the course of the film. Michael's quest for love brings him to a new understanding of the fine line between lust and true love, as is evidenced in the awkward scenes with Granny. Similarly, the prolific amount of scenes suggesting nudity address the many forms of nudity, from the intellectual and natural nudity of Mr. D'Arc, to the innocent yet meaningful undressing of Granny, to the hot and steamy revelations of each of the D'Arc sisters. One of the most powerful themes, however, is that of life and death, which is expressed in one of the most moving and unique death scenes ever filmed. As Granny closes the curtains, Michael, and the audience, learn what life, death, and love are truly all about. Similarly, Sanna Vraa gives a short but stunning performance as the young Granny, in a mysterious return at the grave which solidifies the story's lessons on life, death, and love.

As wonderfully compelling as this movie is, it should be viewed with a great deal of discretion. Young viewers, especially young teenagers, should be discouraged from seeing `Some Girls.' Also, those viewers whose standards are offended by constant references to sexuality and nudity would be wise to refrain from seeing `Some Girls.' The movie is rated `R' for a reason; the sexual content and themes are very provocative.

It is precisely because of this provocation that the movie is so worth seeing for the intended audience, mature viewers who have an appreciation for art, in all its forms, as well as an awareness and understanding of human nudity and sexuality. For those viewers, `Some Girls' is bound to not only be a delightful experience, but also one which is both challenging and rewarding. To them, a screening of `Some Girls' will seem like more of an evening spent in a truly artistic setting, such as a museum or opera, than just a crowded movie theater full of mindless spectators chomping away at that stale popcorn.

France is famed for its romantics, but Quebec? In the winter? Well, perhaps it should be. A love-struck college student named Michael (Dempsey) has too many naive theories about women. Then he is invited, by his mysterious girlfriend Gabbie (Connelly) to visit her family over Christmas, in Quebec. Ah ha, he thinks; major progress. The first thing Gabbie tells Michael in Quebec, however, is that she no longer loves him. Yet, she wants him to stay for the holidays. The bewildered Michael is then introduced to Gabbie's truly bizarre family, including Gabbie's father (Gregory), a writer who can work effectively only in the nude; a priest (Milette) who is hopelessly in love with Gabbie's over-protective mother (Balkan); Gabbie's sensual sister Irenka (Kelley) and her boorish boyfriend (Edwards); and a clock-stealing sheepdog, among others.

Poor Michael continues to try to woo Gabbie, and almost succeeds, but is mightily distracted by Irenka and her younger sister, Simone (Greenfield). Then he meets Granny (Kedrova), the crazed and dying matriarch, who mistakes Michael for her long-dead husband of the same name. The film shifts tone as Michael discovers that love and sex need not be the same thing. The final lines of the movie sum it up well, as Michael muses that all his theories about women are bulls**t.

The few professional critics who saw this film gave it very low marks, and certainly there were things to criticize. The lead actors (Demsey, Connelly) were sometimes unconvincing, and the plot was erratic and almost non-existent. These were minor flaws, however, in an otherwise fascinating film. For the most part, the acting was enjoyable, the character development was fascinating, and the film filled with unexpected humor. The sexual tension was kept high, with very little actual sex, and the ending was satisfying.