Newspapers / Daily Tar Heel (Chapel … / Oct. 26, 1989, edition 1 / Page 23
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DTH Omnibus Page 13 Thursday October 26, 1989 II INI 1 M A Travolta's Look Who's Talking Kirstie Alley, John Travolta, the voice of Bruce Willis directed by Amy Heckerling Ram Triple 967-8284 oooo Have you ever noticed the ex pression on a baby's face and wondered what in the world he or she is thinking about? Fortu nately, director and screenwriter Amy Heckerling (Fast Times at Ridgemont High and Johnny Dangerously) brings the mysterious world of baby thoughts to the screen in Look Who's Talking, a hysterical romantic comedy star ring Kirstie Alley, John Travolta and the unmistakable vocal talents of Bruce Willis as the voice of Mikey. Mollie (Kirstie Alley), a hard work ing CPA in her mid-30s, is in the midst of an affair with her best client, Albert (George Segal), who keeps promising to divorce his wife. But when Mollie discovers that she's pregnant, it becomes obvious that he's in no hurry to follow through. To save Albert's reputation, Mol lie tells everyone that she was artifi cially inseminated. When she sees Albert with another woman, she flies into a rage and then into labor. That's when John Travolta comes in as the cab driver that has to get her to the hospital after racing through a bar rage of New York City street obstacles and alleys (no pun intended). As a result, Mollie is left alone with a newborn child and no father. (Okay, okay. I realize by now all you Sex and brotherly love fall short of fabulous The Fabulous Baker Boys Jeff Bridges, Michelle Pfeiffer, Beau Bridges directed by Stephen Kloves Carolina Blue and White 942-3061 OOO 12 W hat happens when two brothers who have shared a career in piano-playing suddenly realize they have to bring in an outsider to save their act? This is one of many questions asked in Stephen Kloves' The Fabulous Baker Boys. For 31 years, the Baker boys have made it on their own, but their "family business" lacks the enthusiasm or support necessary to survive. Beau and Jeff Bridges play Frank and Jack good, but Mikey Donald Beck - ladies are saying to yourself, "Just like a man. Pig!" But this is where it gets good.) She decides to find the per fect father for Mikey on her own. But little does she know, Mikey has his own opinions on that subject. Mollie's adventures in dating offer some of the funniest scenes in the movie. During each date Mollie imag ines a future with each prospective man as Mikey's father. Although she tries the safe, secure types, she thinks they would all be bad fathers. Which leads us to the main man in our story, Mikey. He may look like just another baby, but inside Mikey is a mound of mischief with thoughts (which the movie-goers can hear) about everything. From the time of conception onward, Mikey's com ments are the highlight of the movie. A film where a child knows what's better for him than his own mother is an excellent formula for laughter. The mastermind behind the con cept is Amy Heckerling, who says that she was inspired by her own baby daughter. Heckerling is known for her direction of the sensitive yet humorous film Fast Times at Ridgemont High and uses her experience here to capture a similar mood. Although it is unclear at times whether James and Mollie's relation ship revolve around their love for Mikey or love for each other, Kirstie Alley and John Travolta give wor thy performances. Though she landed her first feature-film role as the half-Vulcan Lt. Saavik in Star Trek II: The Wrath of Billy Stockard Baker, brothers who move from night club to nightclub in the hopes of making a decent living. Frank is the older and more responsible of the two; he books their performances and does most of the talking, even dur ing their performances. His foil is the solemn Jack, who doesn't like what he's doing but tries to forget his troubles by sleeping around, boozing and spending time with his dog, Ed. The moodiness that burdens him isn't that noticeable to his young neighbor, Nina (Ellie Raab), a little girl whose mother goes through as many boyfriends as Jack does liquor bottles.The audience sees Jack's rare soft side only with Nina and Ed. That is, until Susie Diamond comes along. After getting the don't-call-us-we'll-call-you treatment, Frank pro Khan, Alley is best known for her work on the hit series Cheers, which earned her an Emmy nomination as the strong-headed bar manager Re becca Howe. She displays an equal amount of talent in Look Who's Talk ing as Mikey's hyperactive, insecure mother. With her naturally pouty face, Alley easily convinces the au dience of just how sorry she feels for herself. At the same time, however, she retains her sassy attitude and the determination to do "what's best for Mikey." John Travolta seems out of char acter at first but manages to make James' character as lovable as Mikey's. Travolta's previous roles from the degenerate Vinny Barbarino on TV's "Welcome Back Kotter" to the disco junky Tony Manero in Saturday Night Fever, which earned him an Acad emy Award nomination, seem to carry over into this character with more positive results. He's a child trapped in a grown-up's body and a street wise yet tenderhearted cab driver who finds himself becoming more and more attached to a confused woman and her spunky child. Bruce Willis gives possibly his funniest performance ever as Mikey's voice. It seems that Willis' vocal cords and cynical attitude were made for the part. Heckerling does an excel lent job of matching the baby's ex pressions to Willis' dialogue. Even if someone didn't hear the words, the expressions could speak for them selves. That is what makes this movie so charming. Smaller parts by Abe Vigoda (Bar ney Miller) as James' grandfather and Olympia Dukakis (Moonstruck) are equally strong. Both are comical characters, but appealing at the same time. Dukakis' dialogue concerning her CPA husband and marriage in poses that they add a singer to the group. They listen to "37 girls that couldn't carry a tune," including the bubbly Monica Moran (Jennifer Tilly), before they meet Susie Dia mond (Michelle Pfeiffer), a girl with no previous experience "except AAA escort service." They are so struck by her talent and beauty that they hire her immediately. Susie isn't an immediate hit, but after some disastrous opening min utes she wins the audience over. The Bakers finally begin to find success with the new addition. They even turn the tables on managers by tell ing them "We'll call you." But Susie can't solve all the Bak ers' problems. When Jack and Susie find themselves increasingly attracted to each other, tensions build between the couple and between Jack and Frank. When they finally come to a confrontation, the fallout makes Jack re-evaluate his life and his reasons for staying with the Fabulous Baker Boys act. steals the show J fir A 'J VC t ..; i ' r I Mnu: ) Ci if A ' "$r v '- f t I Look familiar? John Travolta shows Mikey his best dance moves in Amy Heckerling's look Who's Talking' general is a great counterpoint to onward, it is full of hilarious mo Alley's confusion, ments. Kirstie Alley's hysterics are Look Who's Talking is delightful, classical and Travolta makes a name From the special effects (courtesy of for himself as a likable, not laugh Magic Vista) showing the develop- able, character. But, of course, Mikey ment of the wisecracking embryo is the real star, and steals the show. The film is an opportunity for Jeff and Beau Bridges to work together for the first time; it could be entitled The Fabulous Bridges Boys. It is rare to see such a realistic portrayal of characters; because the Bridges are real brothers, their scenes together, particularly the arguments, are among the best in the movie. Their dia logue and their depth of feeling for each other could only be the result of two actors who are actual broth ers. The incredible Michelle Pfeiffer has shown yet another example of great acting. Susie Diamond may be a follow-up to her Oscar-nominated performance in Dangerous Liaisons, but the two roles are hardly similar. As with all her roles, she shows that she can be trashy, human, mysteri ous or innocent but always sexy. The film is also a big break for Jennifer Tilly and Ellie Raab, who provide innocence in a movie filled with sometimes unsavory characters. Tilly's air-headed Monica Moran is the lightest in intellect and in sub stance; she is also a contrast to Pfeiffer's sultry Susie Diamond. Raab's Nina is unintimidated by Jack's abra siveness, and even when he takes out his frustrations on her, she helps him realize how corrupt his life has become. Writerdirector Steve Kloves and executive producer Sydney Pollack (of Out of Africa and Tootsie) have created a somber and sometimes slow paced, yet subtly humorous movie whose theme is well-accented by Dave Grusin's bluesy musical background. The Fabulous Baker Boys is about people overcoming their weaknesses and facing the truth about their lives. Self-pity, dishonesty, ambition (or lack of it) all play a part in making Kloves' debut a very human picture. While it features two of today's most talented stars, the movie is not likely to become just another notch on the belts of Pfeiffer or Bridges, but will be a springboard for some of Kloves' future, maybe even better, projects.
Daily Tar Heel (Chapel Hill, N.C.)
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Oct. 26, 1989, edition 1
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