Far from Perfect, Far from Terrible

Awesome Movie

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

There are only a few movies I watch more than once, this one is on my list because of Geraldine Chaplin's psychotic performance as Emily. Here is an actor in top form, playing the role for all it's worth, and she is a joy to watch. Anthony Perkins's unstructured acting style serves to emphasize Chaplin's, while Jeff Goldblum and Alfre Woodard (does she ever age?) provide dramatic background characters. I'm less sold on Berry Berenson, who seems out of her depth here, but her tangible fear when Emily pops up in her house is serviceable.Okay, so about that ending, it's almost like they ran out of money and just called it a day, leaving an unfinished story. It's frustrating, but hear me out: this is how it feels when someone close walks out of your life, this is exactly what Emily experienced when Neil dumped her, and she wanted him to feel that way. I know it's a stretch and probably not intentional, but it's the only explanation that makes sense.

After carving out eccentric, obtuse molds for her personality while co-starring in Robert Altman's "Nashville" and Alan Rudolph's "Welcome to L.A.", Geraldine Chaplin finally earned a full-bodied (though still utterly eccentric) leading role in Rudolph's "Remember My Name", which was produced by Robert Altman. Chaplin plays an ex-convict and sociopath seeking a reunion with her former husband, a carpenter who has remarried and resides on the west coast; lacking interpersonal skills of any kind, she decides to get his attention by stalking he and his wife and breaking into their house. Intriguing, if unpleasant, modern-day melodrama with noir-ish overtures, made memorable by Chaplin's high-wire performance. Tough and unyielding, and possibly schizophrenic, Chaplin creates a portrait of a woman obsessed by the past, and wilting under the untouchable persona she has created for herself. The narrative goes a little batty in the final stretch, leading to a perplexing conclusion; however, the film's detached tone is very deliberate and assured--it creates a monotone ambiance which is hard to shake off. Director Rudolph, who also wrote the screenplay, seems to feel this material very deeply. It's a twisted and melancholy valentine. **1/2 from ****

This movie is about sweet revenge for a betrayal.Chaplin's character was once a trusting innocent and was used; now she gives him his fair due. Perkins and Chaplin and Gunn are all so right in their characters (though Chaplin's accent is "off," as it was again in "Nashville"), but they each gave real humanity to their characters. And the haunting music is for me the best part of the show. This film introduced me to Alberta Hunter, and in the years following this film I searched out five more albums by her. Bravo! And when shall we EVER get a DVD publication of the full film? Evidently Ms. Hunter died before signing a release for a commercial VHS (or DVD), so it's legal wrangling that prevents us from having our own copies of this powerful character study.

Geraldine Chaplin was so believable. It made such an impact on me that I can still remember it. Especially wonderful for me was the background music and singing of Alberta Hunter. It was not a movie of violent revenge. It was sweet revenge. Sure, it would be called stalking today, but she was just checking out that ratty ex-husband.