The second awkwardly titled film of the week (the other being "Ronin") and significantly departing from their previous works, the producing and directing team of Ismail Merchant and James Ivory has delivered an interesting, but haphazardly staged drama that's mostly saved by the decent cast and generally good performances.
Forgoing their usual "costume drama" trappings -- unless you consider the fashion of the 1970's as such -- the filmmaking duo, best known of their "arty" film such as "Howards End" and "A Room With A View," have concocted a dramatic, but fragmented bi-continental coming of age story.
Based on Kaylie Jones' 1990 autobiographical novel of the same name -- Kris Kristofferson's character is based on her father, James Jones, who wrote "From Here to Eternity" and "The Thin Red Line" -- the film unfortunately suffers from feeling like a haphazardly constructed, and presumably truncated version of the source novel.
While everything flows forward in a chronological sense through the three titled "chapters" that appear in the movie, many scenes -- particularly in the first two segments -- incongruously pop into the story and then just as abruptly disappear.
Although I'm not familiar with the original novel, it's apparent that Ivory (a three-time directorial Oscar nominee) and fellow screenwriter, Ruth Prawer Jhabvala (an Oscar winner for "Howards End" and "The Remains of the Day") felt compelled to cram as much original material from that novel into this film.
Thus, scenes involving Marcella's miscarriage and young Channe's encounter with a local French boy in his tree house feel awkwardly placed in the movie. Not only are they introduced and then quicky withdrawn without much fanfare -- let alone often with little or no connection to the scenes preceding and/or following them -- but they, and many similar scenes, feel like there should be more to them then is presented.
Likewise, the father's longstanding reaction to his involvement in WWII, as well as the romance involving the family's nanny feel shortchanged at best. Consequently, such material -- while presumably further explored in greater detail in the novel -- feels awkwardly placed here, and peaks, but never approaches satisfying the audience's curiosity regarding such matters once they've been introduced.
The performances are solid across the board, with the standout obviously being Leelee Sobieski ("Deep Impact," "Jungle2Jungle"). Looking ever more like a young Helen Hunt every time she appears on screen, Sobieski perfectly captures the awkward, confusing, and conflicting emotions and thoughts that percolate as one "comes of age."
Jesse Bradford ("Romeo and Juliet," "Hackers"), who plays her confused and increasingly withdrawn and bitter adopted brother, also delivers a compelling performance, while newcomer Anthony Ruth Costanzo steals the show as Channe's flamboyant, opera loving friend.
Working hard to win the "comeback of a career" award, Kris Kristofferson (who's already appeared in this year's "Blade" and "Dance With Me"), is good in his role as the ultra-liberal and always compassionate father. While I've never found him to be an actor of great depth, Kristofferson manages to deliver a decent performance. Meanwhile, veteran actress Barbara Hershey ("The Portrait of a Lady," "Hannah and her Sisters") is also good, but clearly has the weakest written role out of the bunch.
While most viewers would never have imagined the creative and Oscar-nominated team behind such "stately" films like "A Room With a View" and "The Remains of the Day" setting their latest film in the 1970's -- let alone including rock songs from the likes of David Bowie and Deep Purple -- the end result shouldn't let down many of their fans, although it may take them a moment or two to get used to the new "look."
While a strong narrative sense -- beyond the straightforward chronological trajectory the story obviously follows -- would have made the picture much better and given it more resonance, its cast and their decent performances make up for a great deal of those deficiencies. Different than most anything Merchant and Ivory have delivered in the past, the film isn't up to par with their previous efforts, but it's still a decent production. We give "A Soldier's Daughter Never Cries" a 6 out of 10.