A Walk On The Moon 1999

  1. A Walk On The Moon 1999 Web Dl
  2. A Walk On The Moon 1999 Web Dl

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'Sometimes I just wish I was a whole other person,' says Pearl Kantrowitz, who is the subject, if not precisely the heroine, of 'A Walk on the Moon.' ' It is the summer of 1969, and Pearl and her husband, Marty, have taken a bungalow in a Catskills resort. Pearl spends the week with their teenage daughter, their younger son and her mother-in-law. Marty drives up from the city on the weekends. The summer of 1969 is, of course, the summer of Woodstock, which is being held nearby.

And Pearl , who was married at a very early age to the only man she ever slept with, feels trapped in the stodgy domesticity of the resort-where wives and families are aired and sunned, while the man labors in town. She doesn't know it, but she's ripe for the Blouse Man. The Blouse Man drives a truck from resort to resort. The side of the truck opens out into a retail store, with marked-down prices on blouses and accessories. Funny, but he doesn't look like a Blouse Man: With his long hair and chiseled features, he looks more like a cross between a hippie and the hero on the cover of a paperback romance. He senses quickly that Pearl is shopping for more than blouses, and offers her a free tie-dyed T-shirt, and his phone number. The T-shirt is crucial, symbolizing a time when women of Pearl's age were in the throes of the Sexual Revolution.

Soon Pearl is using the phone number. 'I wonder,' she asks the Blouse Man, 'if you had plans for watching the Moon Walk?' ' 'A Walk on the Moon' is one small step for the Blouse Man, a giant leap for Pearl Kantrowitz.

In the arms of the Blouse Man, she experiences sexual passion and a taste of freedom, and soon they're skinny-dipping just like the hippies at Woodstock. The festival indeed exudes a siren call, and Pearl, like a teenage girl slipping out of the house for a concert, finally sneaks off to attend it with the Blouse Man. Marty , meanwhile, is stuck in the Woodstock traffic jam. And their daughter Alison , who has gotten her period and her first boyfriend more or less simultaneously, is at Woodstock, too-where she sees her mother. The movie is a memory of a time and place now largely gone (these days Pearl and Marty would be more likely to take the family to Disney World, or Hawaii). It evokes the heady feelings of 1969, when rock was mistaken for revolution. To be near Woodstock and in heat with a long-haired god, but not be able to go there, is a Dantean punishment.

But the movie also has thoughts about the nature of freedom and responsibility. 'Do you think you're the only one whose dreams didn't come true?' ' asks Marty, whose early marriage meant he became a TV repairman instead of a college graduate. Watching the gathering clouds over the marriage, Pearl's mother-in-law, Lilian , sees all and understands much. If Pearl is not an entirely sympathetic character, Lilian Kantrowitz is a saint. She calls her son to warn him of trouble, she watches silently as Pearl defiantly leaves the house, and perhaps she understands Pearl's fear of being trapped in a life lived as an accessory to a man. So the underlying strength of the story is there.

Unfortunately, the casting and some of the romantic scenes sabotage it. Liev Schreiber is a good actor, and I have admired him in many movies, but put him beside Viggo Mortensen and the Blouse Man wins; you can hardly blame Pearl for surrendering. (I am reminded of a TV news interview about that movie where was offered $1 million to sleep with. 'Would you sleep with Robert Redford for a million dollars?' ' a woman in a mall was asked.

She replied: 'I'd sleep with him for 50 cents.' ') The movie's problem is that it loads the casting in a way that tilts the movie in the direction of a Harlequin romance. Mortensen looks like one of those long-haired, bare-chested, muscular buccaneers on the covers of the paperbacks; all he needs is a gothic tower behind him, with one light in a window. The movie exhibits almost unseemly haste in speeding Pearl and the Blouse Man toward lovemaking, and then lingers over their sex scenes as if they were an end in themselves, and not a transgression in a larger story. As Pearl and the Blouse Man cavort naked under a waterfall, the movie forgets its ethical questions and becomes soft-core lust. Then, alas, there is the reckoning.

We know sooner or later there will be anger and recrimination, self-revelation and confession, acceptance and resolve, wasp attacks and rescues. We've enjoyed those sex scenes, and now, like Pearl, we have to pay. Somewhere in the midst of the dramaturgy is a fine performance by Anna Paquin (from 'The Piano') as a teenage girl struggling with new ideas and raging hormones. Every time I saw her character onscreen, I thought: There's the real story.

Tony Goldwyn's A Walk on the Moon is a wonderfully realized, nostalgic (if you are as old as I am) melodrama set during the summer of 1969. It is a time of change across America-sex, drugs, and rock 'n' roll-and a historic year in the space program, but not everything is in upheaval. Pearl Katrowitz, a thirty-year-old Brooklyn housewife (Diane Lane), is spending the summer, as she has for the last decade, at Dr. Fleigel's Bungalow Colony in the Catskills. Along with her daughter, son, and mother-in-law, she waits dutifully for her husband's weekend visits, commuting from his job in New York City. The insularity of the camp is interrupted only by calls from the traveling salesman, the 'ice cream man,' 'the knish man,' or 'the dress man.' On one of these occasions, Pearl meets 'the blouse man,' Walker (Viggo Mortensen).

Both hip and sexy, he is at first just casually friendly. But it rapidly becomes evident that the undercurrent of sexual tension won't disappear, and the steamy love affair that ensues changes the lives of everyone involved. With a tone that is romantic yet very authentic, Goldwyn creates a charmingly comic but intense love story that interweaves coming of age for Pearl's newly adolescent daughter with Pearl's own trek toward self-realization. Against the backdrop of Woodstock, and with Lane's complex, yet compelling, sexuality, Goldwyn's storytelling avoids the era's easy cliches to offer a memorable and satisfying look back at the time when change was in the air. This movie is about a woman who has second thoughts about her married life when she meets a handsome t-shirt salesman. A Walk on the Moon is a great movie which touches a lot of morality subjects that are super relevant to our society today.

Today there are too many adult people acting like teenagers and letting themselves get sucked in to the vortex of the irresponsible and untied life. A part of maturing is realizing that you can't do whatever you want whenever you feel like it, you have to consider the people around you when you're making important decisions and you must not be reckless. I think this movie teaches some great lessons about immaturity and loyalty. It teaches about responsibilities and what happens if you abuse the responsibility you have. I love Liev Schreiber and Viggo Mortensen, and they're really bringing the best to this movie.

A Walk On The Moon 1999 Web Dl

½ font=Century GothicIn 'A Walk on the Moon', it is 1969 and Pearl(Diane Lane) and Marty Kantrowitz(Liev Schrieber), their children, Allison(Anna Paquin) and Daniel(Bobby Boniello), and Marty's mother(Tovah Feldshuh), are vacationing in the Catskills where they spend every summer. Marty who works as a television repairman tries to make it up there every weekend from New York City but cannot one time due to overwhelming demand at his shop in the days leading up to the moon landing. Left to her own devices, Pearl seeks the company of Walker(Viggo Mortensen), the handsome new blouse man./font font=Century Gothic/font font=Century Gothic'A Walk on the Moon' is a facile and one-sided take on such overly familiar themes as infidelity and thwarted dreams that wastes a very fine cast in the bargain. The only reason for setting the movie in 1969 is as a reaction against the personal and political liberation of the time.

A Walk On The Moon 1999 Web Dl

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On the one hand, it dives head first into the cliches of the time(Woodstock but it does get points for mentioning the Mets) but also thankfully points out that not everybody back then were hippies.(My parents certainly were not, even if I am.)/font.