Georgia

I suppose 'Georgia' makes a more mellifluous title than 'Sadie,' because that's the Flood sister that gets the lion's share of attention in this movie. Sister Georgia has built herself a career as a successful country music singer and has a stable marriage and family life. Sadie sings too, sort of; she's not that good and performs with semi-pro bands in mostly empty nightclubs. The two women have a complex and fragile relationship. Sadie seems to love her sister and admire her talent, but just below the surface lurk envy and resentment. Georgia for her part is always polite but somewhat on edge when Sadie is around, as if she's afraid her sister might lose control of herself and do something stupid or embarrassing. That fear is not unfounded, for Sadie is, as one critic described her, an emotional black hole, the kind of person who sucks in all the concern and attention in a family. She's also a substance abuser who is always walking on the edge of personal destruction.

The movie was written by Barbara Turner, mother of Jennifer Jason Leigh who plays Sadie, and directed by Ulu Grosbard. They tend to underplay rather than overplay Sadie's drug use and erratic behavior. She often threatens to do something out-of-control or embarrassing but most often stops just a bit short. Only once in the film is she shown really suffering the ill effects of being a junkie, but it's a harrowing scene. Also, Sadie and Georgia are often right on the verge of an emotional bust-up scene, but they only really have it out one time as well. This keeps the film from degenerating into caricature but it may stop it from being a great film rather than just a good one.

Director Grosbard took one very large chance on a scene where Sadie is Georgia's guest onstage at a benefit show. Sadie sings a Van Morrison song, "Take Me Back," stretching it out with her own improvised lyrics before an uncomfortably silent audience, forcing Georgia to come to both Sadie's and the crowd's rescue. To make this scene work, Grosbard had to let the song run on a long time, some eight minutes. This runs the risk of alienating some viewers and providing an easy target for critics, but you have to admire the daring it took to include it.

'Georgia' is a good, solid, if not spectacular film about sibling rivalry and family relations. Leigh is good in her role, as is Mare Winningham as the more subdued title character. Of the supporting cast I especially liked Max Perlich as a hero-worshiping fan that Sadie uses by turning him into her husband.

Hello, Brazilians! Georgia is such a touching film. I saw it once in one of the BAND's dawns, and then it didn't leave my mind anymore. After a long time, I saw it again, VHS, then I could remind it... still touching. A beautiful view of a beautiful life. Sadie is quite full of life. This life, sometimes, flees from her, but she's always trying to take it back. And there's no doubt about her ability... "She swallow people" - Georgia said. Yes, she's strong... she is Sadie Flood. And I really love this movie. I wish I could leave the Contracampo's (a Brazilian movie magazine)commentary here, but only English posts are accepted... what a pity!

Jennifer Jason Leigh is an incredible actress, climbing into a character and making you feel what the character feels. She accomplishes that to an intense degree as Sadie Flood in "Georgia." The problem is that I didn't really want to feel what Sadie felt. She scared and disgusted me. Mare Winningham (who knew she had such a clear, sweet singing voice?!?) matches Leigh's believable portrayal, but had a more sympathetic character with which to work. The stand-out, though, is Max Perlich as Sadie's worshipful husband/doormat. My heart broke for him. While the acting was strong, I found this film exhausting and kept checking to see how much time was left - it felt more like an assignment than entertainment.

Sadie is desperately looking up to her older sister Georgia who is a famous C&W artist. Sadie wants to be a famous artist like her sister, but is always doing everything wrong. Her desperate need to be accepted by her sister is constantly complicated by her drug and alcohol problems.

Beyond anything else you can say about this film, it is a showcase for Jennifer Jason Leigh. She not only stars -- and sings -- but produced the film, and along with her mother (Barbara Turner) wrote the script, based on a real-life experience.

The casting of Ted Levine is interesting. Apparently he was cast to help distance him from the "Buffalo Bill" image he had acquired. But they made little attempt to modify his look. He still looks very much like Buffao Bill, though he is quite capable of altering his appearance by merely growing a mustache (see "Monk").

'Georgia' is a strong, sometimes harrowing drama about the relationship between two singing siblings: the eponymous elder sister, an established country-folk star, and the less talented Sadie, who is actually the central character of this film. Jennifer Jason Leigh is in her element as the self-destructive, self-loathing Sadie, and delivers perhaps her finest performance; but Mare Willingham is also good in the subtler role of Georgia, a woman whose capacity to feel compassion has been tested to the limit, and which only survives when focused through a prism of superiority. Georgia is instinctively careful with words but Sadie compulsively goads her into betraying these instincts; the telling dialogues between them are constructed with a deadly precision, the high points of a generally excellent screenplay. What's also surprising is that the music is also good. In any film about art, a central problem for the director is creating a belief in the merits of the fictional work; in 'La Bellie Noiseuse', for example, Jean-Jacques Rivette created an explicit plot justification for not having to show the painting that is the film's centrepiece to his viewers, rather than letting us judge it. By contrast, in this film, Georgia sounds genuinely good, while Sadie veers between downright awful and almost interesting; this allows the film to actually use the music as a means of conveying the narrative of the story. This slows the pace of the film, and if you don't like the types of music played, might be excruciating; but it's interesting to see the (fictional) truth conveyed through the medium of performance.

One of the film's strengths is that it grants us no indulgent fantasies; because of this, the narrative arc is limited (especially as the film is quite long). In some senses, the film resembles other great films about the self-destructive, like 'Five Easy Pieces' or 'Naked'. It's not quite in that class, but it's double-headed structure makes it more reflective, less visceral, but by no means uninteresting. Overall, it's an unjustly neglected work.