Except for A.I.: ARTIFICIAL INTELLIGENCE, ALWAYS may be the most misunderstood movie that Steven Spielberg has ever directed in his life. A loose reworking of Victor Fleming's 1943 World War II classic A GUY NAMED JOE, ALWAYS, when released in December 1989, suffered from the worst critical barbs that any of his films has received since his 1979 disaster "1941." Undoubtedly, Spielberg's idea to mix the old with the new will alienate some, and the plot may be too manipulative and sappy for others. But this is still much, much better than critics made it out to be.
Richard Dreyfuss, Spielberg's favorite "Everyman", stars as a fire-fighting pilot with a penchant for dare-deviltry, something that scares not only his partner (John Goodman) but also his girlfriend (Holly Hunter). Hunter is on the verge of leaving him because of his antics, but Dreyfuss agrees to settle down and be a trainee to pilots in Colorado. But on one last fire-fighting mission, in which he saves Goodman when Goodman's plane catches fire, Dreyfuss' aircraft blows up in a fireball. Goodman is horrified, and Hunter is, understandably, all but inconsolable.
In heaven, Dreyfuss is given his afterlife assignment by a guardian angel named Hap (Audrey Hepburn, in her final role). He is to aid a rookie pilot (Brad Johnson) in learning the tricks of the aerial firefighting trade he once plied. After a near-catastrophic (and funny) misstep, Johnson gets right on target. Unfortunately, this also means falling head over heels for Hunter--and this stings Dreyfuss to the core, even though he's supposedly dead. Hepburn sympathizes with Dreyfuss' feelings, saying that he needs to find a way to say goodbye to Hunter.
He gets his chance, but in a dramatic way. Hunter takes off in a firefighting craft that she doesn't really know how to fly and flies right into the middle of a mountain firestorm in which firemen are trapped on the ground. This terrifying sequence ends up a success, and Dreyfuss is able to make peace with Hunter before finally departing.
Although it is at times shockingly old-fashioned in dialogue and mannerisms, ALWAYS is still one of the most touching and heartfelt films I've ever seen. It veers from sharp-witted comedy to poignant drama to a climax that is quite simply suspenseful. Spielberg is able to handle the film with his usual aplomb, but he relies heavily on the excellent performances of both Dreyfuss and Hunter, who make for an extremely appealing pair. Goodman is equally fine as Dreyfuss' slightly sardonic partner. Johnson, a newcomer to the acting profession in '89, is also good as the pilot with a penchant for quoting John Wayne (particularly from John Ford's film THE MAN WHO SHOT LIBERTY VALANCE).
John Williams' haunting score, which interestingly presages the one he would write for A.I., the special effects, and the cinematography help to make ALWAYS a true treasure, particularly for anyone who appreciates romanticism. This is Spielberg's kind of love story, and it is a long, long way from being the disaster a lot of critics initially claimed it was. It comes highly recommended.
Recommended:
Yes
Viewing Format: VHS Video Occasion: Good Date Movie Suitability For Children: Suitable for Children Age 13 and Older
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