As a precious equivalent of a handmade dollhouse Marilyn Hotchkiss is based on a 1990 short film narrated by William Hurt about a Pasadena ballroom-dancing school for preteens in which 10-year-olds Steve and Lisa first meet. Now grown up Steve (John Goodman) is dying on a rural road. With his guts splayed over his chest Steve retells his childhood dance memories of Lisa (Camryn Manheim) to a stranger Frank (Robert Carlyle) who finds him lying there. Coincidentally Frank is also taking the same Marilyn Hotchkiss ballroom dancing class now taught by Marilyn’s prim and proper daughter Marienne (Mary Steenburgen) as an adult. As Steve is leaving life Frank is re-starting his and the two of them connected through dance. Subplots of the ballroom dancers and Frank’s therapy partners are an interesting departure to the colored textures of human anxiety. The actors bring a wealth of experience and professionalism to their roles which are pared down for efficiency. Carlyle (Trainspotting) leads the way with modest conflicted restraint carrying the group’s collective acting abilities on his shoulders. Group scenes allow Oscar-nominee David Paymer to play off Sean Astin while Oscar-winner Marisa Tomei matches seductive physical moves with Carlyle in dancing scenes. Manheim is perfectly ugly for the haggard house-bound adult Lisa smoking cigarettes and unaware of her lifetime effect on Steve. The roster is so tight that Danny DeVito is stuffed into a lower bed bunk as a wise prisoner with about five minutes of screen time. Donnie Wahlberg is the actor to get most excited about. His flamboyant turns on the dance floor--think Dodgeball’s Ben Stiller with a stalker’s sense of violent romanticism--hint at the former NKOTB’s acting ability. Wahlberg in the tradition of his brother Mark could be another brooding Dirk Diggler. Despite the big-name talent Marilyn Hotchkiss is small which may explain its reception (or lack thereof) since its Jan. 2005 Sundance premiere. Its a little rough around the edges coming from director Randall Miller (The Sixth Man Houseguest) whose last work was in late ‘90s television. With Marilyn Hotchkiss Miller creates a time-capsule-like effect with quaint dialogue and close-up camera shots. The director also wrote the script which is limited in its scope. A handful of the same settings (the dancehall the therapy room) create a monotony and lack of momentum; the drama is contained. But the color schemes affect the moods of some shots such as a whitewash over Goodman’s dying scene in the ambulance--and the dance scenes have that certain joie de vivre. Marilyn Hotchkiss might be the movie Miller was born to make but it just doesn’t quite reach the winner’s circle of timeless classics.
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.