- Inspired by the true story of tobacco billionairess Doris Duke and her devoted Irish butler Bernard Lafferty, the touching HBO Films drama Bernard and Doris stars Oscar? winner Susan Sarandon (Dead Man Walking) and Ralph Fiennes (The English Patient). After failed relationships with her previous waitstaff, Doris meets Lafferty, fresh out of rehab and without a penny to his name. She takes him on a
Lust turns to love for a 40-ish working-class woman and a 20-ish yuppie adman with little in common. Studio: Uni Dist Corp. (mca) Release Date: 03/01/2005 Starring: Susan Sarandon Jason Alexander Run time: 103 minutes Rating: R Director: Luis MandokiGlenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by! the competent director Luis Mandoki (
When a Man Loves a Woman,
Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (
The Silence of the Lambs) and Alvin Sargent (
Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younge! r man. He gives her a lift, she seduces him, and the rest of t! he movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy.
White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision,
White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in
Dead Man Walking.
--Paula NechakSettle in. Take a deep breath. Hold tight. The best screen version yet of a novel by John Grisham (The Firm, The Pelican Brief) delivers all-out, moment-by-moment suspense! Headliners Susan Sarandon and Tommy Lee Jones join newcomer Brad Renfro in The Client, a whirlwind thriller that "starts like a house afire and keeps on blazing" (Chicago Tribune). Renfro plays Mark Sway, an 11-year-old torn between what he knows and what he can never tell. A hitman will snuff him in half a heartbeat if Mark reveals what he learned about a Mob murder. An ambitious federal prosecutor (Jones) will keep the pressure on until Mark tells all. Suddenly, Mark isn't a boy playing air guitar anymore. He's a pawn in a deadly game. And his only ally is a courageous but unseasoned attorney (Sarandon) who risks her career for him...but never imagines she'll also risk her life.The exceptionally fine cast--Susan Sarandon, Tommy Lee Jones, J.T. Walsh, Mary-Louise Parker, Anthony Edwards, William H. M! acy, Anthony LaPaglia, Ossie Davis, and Brad Renfro--goes a lo! ng way t oward making The Client one of the more solidly enjoyable screen adaptations of a John Grisham southern gothic legal thriller. Teen-hearthrob Renfro is a natural, playing a kid whose life is in jeopardy after he witnesses the death of a Mob lawyer. Susan Sarandon is the attorney who decides to look after the boy; nobody can match her when it comes to playing strong and protective maternal figures (Thelma and Louise, Lorenzo's Oil, Dead Man Walking). Sarandon won her fourth Oscar nomination as best actress for this role, before finally winning the following year for Dead Man Walking. Author Grisham was so impressed with former window dresser/fashion designer/screenwriter-turned-director Joel Schumacher's work on this movie that he later asked him to direct A Time to Kill. --Jim EmersonThe exceptionally fine cast--Susan Sarandon, Tommy Lee Jones, J.T. Walsh, Mary-Louise Parker, Anthony Edwards, William H. Macy, Anthony LaPaglia,! Ossie Davis, and Brad Renfro--goes a long way toward making The Client one of the more solidly enjoyable screen adaptations of a John Grisham southern gothic legal thriller. Teen-hearthrob Renfro is a natural, playing a kid whose life is in jeopardy after he witnesses the death of a Mob lawyer. Susan Sarandon is the attorney who decides to look after the boy; nobody can match her when it comes to playing strong and protective maternal figures (Thelma and Louise, Lorenzo's Oil, Dead Man Walking). Sarandon won her fourth Oscar nomination as best actress for this role, before finally winning the following year for Dead Man Walking. Author Grisham was so impressed with former window dresser/fashion designer/screenwriter-turned-director Joel Schumacher's work on this movie that he later asked him to direct A Time to Kill. --Jim EmersonBased on the novel by Sidney Sheldon, this riveting story of love and revenge boasts dazzling po! rtrayals by Marie-France Pisier, John Beck and Susan Sarandan ! in one o f her career-making roles. Although American WWII pilot Larry Douglas (Beck) promises to marry French femme fatale Noelle Page (Pisier), he instead returns Stateside and marries well-to-do Catherine Alexander (Sarandon). And once Noelle takes a Greek multi-millionaire (Raf Vallone) as a lover, she plots to shame Larry by arranging for him to be the tycoonÂ's private pilot. But in one of many delicious twists of fate in this gripping tale of love, war and betrayal, Noelle and Larry again become passionate, and when Catherine refuses to divorce Larry, the cheating couple seek a murderous revenge.An over-the-top film co-starring a young and gorgeous Susan Sarandon, The Other Side of Midnight is a deliciously melodramatic adaptation of Sidney Sheldon's sweeping (and often schlocky) novel of the same name. Released theatrically in 1977, the film focuses on the intermingling lives of sexily innocent Noelle (Marie-France Pisier), who has a brief affair with a cad n! amed Larry (John Beck), who ends up marrying wealthy and proper Catherine (Sarandon). When Noelle and Larry meet first lock eyes, he is a dashing World War II American fighter pilot who professes his love for her. But when she discovers she is pregnant with his baby, he is nowhere to be found. So what's a poor girl to do but abort her baby, rise to stardom as one of the world's most famous actresses, and plot revenge against her duplicitous ex-lover? But faster than you can say, "You go, girl!" (or "Oh no she didn't," depending on your point of view), Noelle once again falls for Larry's vaguely porn star charms. But what to do with Catherine, who refuses to divorce her cheating spouse? Make no mistake about it: The Other Side of Midnight is not quality filmmaking and is probably not something Academy Award winner Sarandon even lists on her resume. But she is a joy to watch, even as she has to deliver clunky lines such as, "If you don't love me, Larry, don't lay me." ! This is not a great movie. Heck, it's not even a particularly ! good mov ie. But it's one of those guilty pleasures that you'll watch all the way through, even as you're complaining about the implausibility of it all. --Jae-Ha KimGlenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor part! y for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wast! es into decline while Nora ultimately thrives in the quest for! truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula NechakSusan Sarandon's memorable performances have made her an American icon. Passionate and outspoken, she's often controversial. Why did Sarandon choose acting as a career? What is her acting philosophy? How does she select roles? What motivates her to promote social and political causes? Why do some people object to this? How do critics rate her work and her movies? Betty Jo Tucker answers these questions and more in an analysis of Sarandon's achievements from a film critic's perspective. Tucker's book also includes an annotated filmography of Sarandon's movies and sele! cted reviews of her key films.An estranged wife with seven sons pursues a new life until tragedy strikes. Starring 1995 Academy Award(R) winner Susan Sarandon and Sam Shepard. Year: 1994 Director: Robert Allen Ackerman Starring: Susan Sarandon, Sam Shepard, Robert Sean LeonardThis family drama, based on a novel by Ellyn Bache, is overly familiar in its concentration of cracked secrets and family revelations all pouring down during a brief crisis. But it has a fine cast led by Susan Sarandon, and they make the whole enterprise a watchable affair. Sarandon plays a middle-aged mother of a brood of mostly grown sons. Suffering from empty-nest syndrome, she tends toward anxious dreams in which one or another of the boys is missing overseas. After having a nightmare that one--a Marine assigned to a Sinai peacekeeping force--has been hurt, word comes that a terrorist attack has indeed left his status in question. As the rest of the family gathers in the glare of fea! r--including Sarandon's estranged husband (Sam Shepard), suffe! ring som e form of (metaphorical) blindness--lots of unspoken things are said about old rivalries, ancient grievances, etc. It's all a bit thickly designed, but the likes of Robert Sean Leonard, Sean Astin, Marcia Gay Harden, Nick Stahl, and most of all Sarandon make it entirely palatable. --Tom KeoghHUNGER - DVD MovieCatherine Deneuve and David Bowie are rich, beautiful, and oh-so chic as denizens of the night. Dressed in sleek outfits and stylish sunglasses, they haunt rock & roll clubs on the prowl for young blood, whom they bring home to their impossibly luxurious mansion for a late-night snack. Being a vampire never looked more sexy, but there's a price: Bowie starts to age so fast he wrinkles up in the waiting room of a doctor's (Susan Sarandon) office. The agelessly elegant Deneuve, evoking Delphine Seyrig's Countess Bathory from Daughters of Darkness, is perfectly cast as a millenniums-old bloodsucker who seeks a new mate in Sarandon and seduces her in a su! nlight-bathed afternoon of smooth, silky sex. Tony Scott's (Ridley's brother) directorial debut, adapted from the Whitley Strieber novel, revises the vampire myth with Egyptian inflections and removes all references to garlic and crosses and wooden stakes--these bloodsuckers can even walk around in the daylight--but the ties between blood and sex are as strong as ever. Scott's background as an award-winning commercial director is evident in every richly textured frame and his densely interwoven editing, but the moody atmosphere comes at the expense of dramatic urgency. At times the film is so languid it becomes mired in its hazy, impeccably designed visual style. In its own way, The Hunger is the perfect vampire film for the '80s, all poise and attitude and surface beauty. Sarandon talks candidly about the film in the documentary The Celluloid Closet. --Sean Axmaker Inspired by the true story of tobacco billionairess Doris Duke and her devoted Irish but! ler Bernard Lafferty, the touching HBO Films drama Bernard and! Doris s tars Oscar® winner Susan Sarandon (Dead Man Walking) and Ralph Fiennes (The English Patient). After failed relationships with her previous waitstaff, Doris meets Lafferty, fresh out of rehab and without a penny to his name. She takes him on as her butler and he is put in the unenviable position of having to convince the notoriously demanding Duke to keep him in her employ. Directed by Bob Balaban (Gosford Park), the film effectively captures the elegance of a bygone era and is scored with countless musical standards, such as Peggy Lee's "The Best Is Yet To Come". Bernard and Doris tells the witty and endearing tale of an unconventional bond between a society "princess" and her flawed "pauper" of a butler. Bravura turns by Ralph Fiennes and Susan Sarandon in the title roles carry Bernard and Doris, director Bob Balaban’s 2007 film about the long relationship between zillionaire tobacco heiress-philanthropist Doris Duke and her butler, Bernard Lafferty. These are two! fine actors (Sarandon has been nominated for five Oscars, winning for Dead Man Walking, while Fiennes has been nominated twice) at the top of their games. That’s a good thing, as they are on screen almost constantly; and the truth is that other than the evolution of the Duke-Lafferty bond, not a lot actually happens. Sarandon delivers a measured, almost casual performance as Duke, a woman who seems relatively unpretentious (if clearly entitled) about her vast fortune, despite have done absolutely nothing to earn it. Duke barely even acknowledges her various employees, except to fire them (or occasionally sleep with them; the twice-married heiress has a predilection for studly, much younger men)--until Lafferty comes along, that is. Stone broke and fresh out of rehab (his alcoholism is an ongoing theme), the shy Irishman gradually ingratiates himself with his demanding employer until he becomes as much a companion as a servant. It helps that as a gay man, he has no! interest in seducing her; moreover, unlike the many others wh! o are ou t to get their hands on her money, Lafferty seems to genuinely value loyalty and friendship over more venal concerns ("I just want to take care of you," he says in one of several poignant scenes), and he’s rewarded with several million dollars and full control of her estate after her death (in 1993). Fiennes is also admirably restrained in a role that could have been meretricious and over the top; combine that with a fine script (by Hugh Costello) and some great songs by Peggy Lee, and a splendid time is guaranteed for all. --Sam Graham
