Sure, it's the stuff of a common cinematic story, but, oh boy, is this one well done!
Sort of like watching Emeril and Bobby Flay go at it - Dustin Hoffman and Emma Thompson (with whom I've always been in love since her brilliant performance as Harriet Pringle in "Fortunes of War" - which I've just ordered on Netflix)) are a wonder to watch. They can dance with one another - I was utterly fascinated to watch how powerfully they embodied their characters - the tiniest twitch around the mouth, the eyes to the side, the smiles, the longing, the searching, the hoping - this is acting at its best!
In one of the best moments ever in film, Kate (Thompson), a Brit, tries to explain to Harvey (Hoffman) what a "stiff upper lip is" - she can do it, he can't (he's American) - this reminded me of another delicious in filmdom when Robbin Williams tries to teach Nathan Lane how to walk like a man. These small moments are what make great films.
Anyway, I bow before Thompson and Hoffman - they are masters of their craft.
And the story got to me ... I was cheering for them, and when Harvey is dashing about London from the hospital the previous night, on his way to catch Kate before her class is finished, I'm saying, aloud, "Come on, hurry up!" The story had me, and that's what I like, and that's why I give this delightful gem of a movie my best recommendation.
I went with two serious critics - my wife and my son, and we all agreed, this was a great film driven by two incredible actors.
Around them, smaller roles so well done:
Eileen Atkins plays Kate's widowed and slightly neurotic mother who's constantly calling her cell phone.
Liane Balaban is Harvey's daughter who's getting married in London (she works there, and that's why Harvey is there), but Harvey is divorced from her mother, Kate (Kathy Baker), now happily married to Brian, a tall, good looking man (everything Harvey isn't) played so well by James Brolin.
Harvey's daughter has asked her step-father to give her away. The anguish and hurt, the brave attempt to cover it, captured so well by Hoffman - I could feel it in my bones. I hurt for him.
Finally, through a variety of mis-steps, missed flights back to the state, and the encouragement of Kate, Harvey attends the reception, and when the step-father stands to toast the couple, Harvey clinks on his glass and says, "They asked for the father of the bride" - Brian agrees (and so do with grace - only a very good actor could bring this little moment off), and Hoffman delivers one of the finest monologues I've heard - it moved me deeply - in that moment, Hoffman is everyone's father, and every father is Hoffman.
One of the delightful elements - Thompson, in heels, is quite a bit taller than Hoffman - clearly, an odd couple, but the chemistry is glorious to watch. At the end, walking down the street ... oh well, I won't tell you that - but a wonderful moment - one of a thousand little things that made this a crown film - filled with diamonds, everyone of them shining.
Under the brilliant direction of Joel Hopkins, also the writer.
Cinematography (John de Borman) was incredible - so many shots, utterly dramatic - one moment of Harvey's despair in a public restroom - leaning against the wall, next to his mirror reflection - I'll not forget that moment. And music to fill the ear and the heart!
Go see it NOW!
