User reviews

This is a technically perfect adaptation of Capote's stunning story based upon partially on his own experiences. Laurie is all things Dolly should be: ethereal, giddy, of understated intelligence, committed, etc. Spacek had to stretch to play the cold-hearted sister, but that's what great actors do. It is leisurely paced, but that's totally in keeping with the story. Music, sets, and all are done with precision and with plenty of soul. Matthau and Lemmon have no scenes together, and for a change, Matthau plays the ethically superior character. Edward Furlong is perfect as the story's protagonist, and Mary Steenburgen steals each scene in which she appears.

I recommend this movie highly to all who enjoy character development and Southern-US Americana.

THE GRASS HARP was a novel by Truman Capote, based (in part) on his a youth, living with a pair of aunts in a southern town. Here his narrator hero is orphaned at an early age, and he is raised by his father's cousins (Sissy Spacek and Piper Laurie). Spacek is the actual head of the family, running four prosperous businesses in the small town, such as the town department store and town hotel (complete with Presidential suite). She is a humorless, hard working woman, as opposed to her sister, who is a loving, free spirited type, who (with her friend and assistant (Nell Carter) collects herbs for a patent medicine remedy for "dropsy". Edwin Furlong (and, earlier, Grayson Frick) play the hero of the film, Collin (the narration is by Boyd Gaines). The hero quickly finds himself in love with Laurie, and just respectful towards Spacek. As he grows up, he finds himself defending Laurie's reputation (she is seen as quite eccentric). The town people also fear Spacek, but rather openly dislike her.

Walter Matthau is retired Judge Cool, a sensible elderly man who "good" people consider a nut (he openly admits that there was nothing wrong with a true love affair between a white man and an African-American woman which led to the white man being run out of town). Matthau is having problems in his home with an unsympathetic grown son and the son's wife. Matthau's wife has died years before. Others in this well cast film include Jack Lemmon as a Dr. Ritt from Chicago, whom Spacek brings back home - and whom accidentally sets in motion the delayed rebellion of Laurie and the others against Spacek's stiff and respectable regime. Joe Don Baker plays the local chicken rancher/part-time sheriff (who hates having to cow-tow to Spacek). Charles Durning is the local minister, who is out for only respectable religious leaders (with Bonnie Bartlett as his equally stuffy wife). Mary Steenburgen is the religious threat - an unmarried mother of twelve who has a mobile revival tent in the back country, but whom is pretty likable for all one's questions about her revivalism. Sean Patrick Flannery is Riley, a young man who lives unconventionally, but whom turns out to be a pretty good friend to Collin. Roddy McDowall (in one of his last roles) plays Amos, the local barber.

Basically Capote uses his characters to punch holes in what "nice, conventional" small town people believe is proper behavior. Spacek is the leader of these people, who believe in organized Christianity, hard work and business, and straight-laced morality. Laurie, Matthau, Carter, Flannery, Steenburgen, and Furlong are all believers in doing what is natural, and from the heart. So as they begin working together they become a model and a danger for the "nice people". But as the tale progresses, the nice people find that what they believe in does not emotionally satisfy them. Indeed Spacek suffers several losses in the course of the film that she never expected.

Charles Matthau, Walter's son, directed this (very nicely - it is one of the best ensemble movies of recent years). It was also a rarity in the 1990s decade of Matthau-Lemmon films. Whereas GRUMPY OLD MEN, GRUMPIER OLD MEN, OUT TO SEA, and THE ODD COUPLE II were all comedies, this film is dramatic and the two actors only shared one scene (with Roddy McDowall in his barber shop) in the film. Also, Lemmon's character is less likable than usual in this film.

The title, by the way, refers to a statement by Laurie's character about how the grass gives off a music like a harp, which is actually the voices of all the people who ever inhabited the earth. It becomes a running metaphor in the film up to the conclusion.

Drawing from the childhood experiences of Southern author Truman Capote, this tale skillfully unveils the subtleties of small-town life, infused with humor and cleverness. Its opulent visuals and lyrical pace evoke a tranquil atmosphere reminiscent of the 1930s, when life possessed a simpler charm. The warm, sepia-toned scenes gently transport us into the recollections of Collin, the story's narrator. The film adeptly resurrects the ambiance, social customs, and uncomplicated pastimes of a bygone era, enveloping the characters in this beautifully reconstructed world.

The barbershop sequences, where locals convene for socializing and the latest gossip, are particularly endearing. You'll find yourself yearning to linger in that shop, engaging in casual banter with Walter Matthau and Roddy McDowell. Joe Don Baker excels as the quintessential Southern sheriff, and his quirky sidekick Ralph, a rooster, adds a comical dash of eccentricity to his rugged, good-old-boy persona. Charles Durning delivers a side-splitting portrayal of a self-righteous preacher who can't wait to expel Mary Steenbergen and her dozen kids from town.

Piper Laurie shines as the heart and soul of the film, portraying Dolly Talbo. Timid and ethereal, Dolly has long endured the dominance of her overbearing sister (Sissy Spacek) but manages to carve out a unique and meaningful life for herself. Edward Furlong portrays their teenage nephew Collin, who comes to live with them.

Dolly and her housekeeper, played by Nell Carter, take Collin under their wing and assist him in adapting to life in this small Southern town. As Dolly imparts wisdom to Collin about his romantic interests, she herself experiences the joys of first love in her life.

Piper Laurie radiates with youthful exuberance when paired with the young-at-heart Judge Cool, portrayed by Walter Matthau. Their on-screen chemistry is both heartwarming and bittersweet.

This film is a masterpiece, offering both visual and emotional splendor. It traverses the spectrum of humor, sorrow, and poignant moments. I recommend not rushing through this viewing; instead, settle in with a glass of wine and savor every frame.

The Grass Harp is a visual and emotional feast that lingers in the heart and soul long after the credits roll.

This movie, adorned with a stellar cast, delivers performances that are truly remarkable. The actors' compelling portrayals were the highlight for me, keeping me absorbed from beginning to end.

At first glance, the film appears to be a narrative about love and the bonds we share with both the living and the deceased. Yet, it subtly explores deeper issues such as social injustice, racial inequality, religious nuances, moral dilemmas, and the conflict between societal norms and personal expression, all without being preachy. Instead, it simply unveils these themes through its story.

Each character stands out, portrayed realistically and vividly by a top-notch ensemble cast. Visually stunning and emotionally resonant, the film strikes a balance between humor, sorrow, and warmth. It's a movie to be experienced leisurely, perhaps with a glass of wine to truly appreciate its depth.