Rereleased onto the big screen on its fifteenth anniversary for no apparent reason other than hoping to capitalize on the financial success of other recent rereleases, but also simply because it's a great film (and a blast to see the cast looking so young), "The Big Chill" plays as well today as it did back at the beginning of the "me" generation.
Epitomizing what had truly become the "big chill" regarding social movements and group causes from the seventies that evaporated, for the most part, in the self-absorbed eighties, the film still carries great resonance regarding how people and their ideals change over time.
Recipient of three Oscar nominations in 1984 (for Best Picture, Screenplay, and Supporting Actress for Glenn Close), this is simply one of the finest examples of dramatic ensemble acting in the history of the cinema.
Director Lawrence Kasdan, fresh off the success of his first film, "Body Heat" (after writing the scripts for "The Empire Strikes Back" and "Raiders of the Lost Ark"), and working from a script he cowrote with novice screenwriter Barbara Benedek, delivers a superb picture featuring a great cast of well-defined and differentiated characters that remain fresh, interesting, and entertainingly compelling even after all the intervening years.
Of course he wasn't hurting for a great bunch of performers with whom to work, although many were relative unknowns at the time. While William Hurt ("Kiss of the Spider Woman," "Broadcast News") was probably the most famous at the time (for his roles in "Body Heat" and "Altered States") and JoBeth Williams had just come off the success of "Poltergeist," the rest were talented "wannabes" awaiting their cinematic spring when they'd bloom into success.
From Glenn Close, who had just done "The World According to Garp" (and later went to "The Natural," "Fatal Attraction" and many films), Tom Berenger (who later went on to star in "Platoon" and the "Major League" movies), and Jeff Goldblum ("The Fly," the "Jurassic Park" movies) to Kevin Kline ("In & Out," "A Fish Called Wanda"), the film -- which was a big financial success for its time and genre -- will forever be known as the picture that launched the prolific careers of those stars.
Even so, the most famous actor to come out of the bunch, Kevin Costner ("Dances With Wolves," "Bull Durham"), was essentially all but edited out of the film's final cut (he supplies the brief glimpses of the corpse during the opening credits). The stuff of great Hollywood folklore, Kasdan reportedly felt so bad about those cuts that he cast Costner in his big Western film, "Silverado" and the rest is cinema history.
Every performer is completely believable in his or her role, and Kasdan has made sure to supply all of them not only with richly drawn characterizations, but also superbly written dialogue. Unlike what's often the case with large ensemble casts, no one here suffers from flimsy character development or being relegated with little onscreen time.
While some may complain that the film is too dialogue heavy (and thus prove that they're missing its point and purpose), Kasdan makes sure that such scenes are surrounded by more lively, if occasionally superfluous moments that lighten the mood and provide for some fun, intervening events.
One of the first to successfully incorporate period songs throughout the production (which then set off a frenzy of similarly scored, copycat soundtracks), Kasdan perfectly balances the feel of 70's collegiate idealism with 80's grounded reality while also delivering some superbly constructed montage sequences of the friends in various part of the film. The best may just be the first that occurs. The opening sequence, where the characters learn of the suicide, and then arrive at the funeral, all to the tune of "I Heard It Through The Grapevine," is superbly constructed.
Lacing the script with smart and witty dialogue, subtle references (in the fun bat scene, Harold hums the theme from "Raiders" for which Kasdan wrote the screenplay), and those not so subtle (while unpacking her bags, Karen tosses her diaphragm case onto the bed where it lands on a magazine featuring Sam -- her eventual adulterous lover -- on the cover), the film never fails to be interesting or entertaining.
Never too heavy or preachy, and featuring a great cast and equally terrific performances, "The Big Chill" may look just a tad dated, but it perfectly unfolds and delivers as compelling and timely a message today as it did when it was first released. We give "The Big Chill" an 8 out of 10.