Always

Always is a well made picture. From Spielberg we expect nothing less, though I think his name hinders this film**. The cinematography and the score are excellent as in all his films, as are the action sequences involving the planes. However, the acting is the strongest part of this film. This is the kind of role Dreyfuss shines in. His fusion of wit and sincere emotion is wonderfull and he delivers some difficult monologues which would seem trite is lesser hands. Holly Hunter and John Goodman are excellent as the people dealing with his loss. Also Audrey Hepburn makes her final screen appearance in two scenes as an angel (how fitting).

**I have this theory about Always. It was almost universally panned by critics, but I think the criticism is directed more at Spielberg than at the film. Certainly Spielberg has made better pictures, and perhaps this film was made on a grander scale than it needed to be, but I think if any other director had done this film it would not have received so much scrutiny. But, I also believe in the hands of a lesser director this movie would not be as good. Always combines action, humor, genuine sorrow, and happiness , and it combines them well, which is no small achievement. Spielberg made a good film, let it go.


OF "UNDYING" LOVE AND LETTING GO   October 11, 2003
Shashank Tripathi (Gadabout)
17 out of 17 found this review helpful

Do you remember "Ghost" with Demi Moore? I have a sneaking suspicion that that was an ultra-Hollywood version of this movie, and yet this 1989 wonder from Spielberg is such magic on film that I bet it'll enter your list of personal favorites on the very first viewing.

The very moving theme revolves around Dreyfuss' character who has a hard time letting go of his significant other, played by the irridiscent Holly Hunter. Above all, what'll linger in your mind is an exquisite bittersweet bond of tenderness and sexual tension between Dreyfuss and Hunter, one that parallels Goodbye Girl. Such maturity and understanding is very rare in your average Hollywood fare. With the immaculate cinematography and background score, at times you can feel what their characters were feeling.

And yet, the movie manages to be pretty funny, not your "American Pie" kind of schtick but an intelligent witty kind of humour. Plus there's a bit of thrilling action too, especially towards the end.

Of love, passion, friendships, letting go -- without giving any further away, this is a delectable family movie that you can (and probably will) see again and again.


Some souls burn brightly even after death.   May 22, 2000
Anthony Hinde (Sydney, Australia)
16 out of 18 found this review helpful

Let's face it, there's damned few chances in life to root for the dead guy. And when the deceased is a fire fighting hero, a pilot and Richard Dreyfuss, you know your have to love him. But before I become too premature, let's lay the groundwork. Actually that term is only half correct for "Always", as a lot of the action takes place in the air. You see we are dealing with airborne smokeys, fire fliers who pilot Air Tankers and dump thousands of gallons of water on forest fires for little pay, even less public recognition and no future.

So there's no prizes for guessing the outcome when we are introduced to one of the more reckless pilots, Pete Sandich, who is in a non-committal relationship with a beautiful Radio operator back at base, Dorinda Durston, played by Holly Hunter. But before the inevitable, tragic accident, we are treated to some quite romantic scenes. The best of which involves Pete gifting his love with a stunning white cocktail dress. The timing could have been better as she then has to dance with every roughneck fire-stomper in the base.

Pete's best friend, the improbably named Al Yackey, is played by John Goodman. He actually has the best role in the film and whilst he does offer much comic relief, there is much more meat on the character's bones than just humour. In fact he is an integral part in putting all the pieces back together following Pete's death.

Interestingly, the story doesn't really take off until Pete is ashes to ashes. You see the afterlife is not all cheese and biscuits, laying back on fluffy clouds. There's work to do, inspiring the living to be the best they can be, or at least to stop being such losers. Pete gets some on the job training from an angelic supervisor called Hap, (Audry Hepburn), and is then pushed out into the world to assist a wayward member of Gods great flock.

This particular sheep is called Ted Baker and he gets one of the best descriptions in any film when Dorinder claims he is not her type, (too much twisted steel and sex appeal). You see, it's Teds destiny to be with Dorinda and hers to be with him. Unfortunately, Pete doesn't work that out for some time because he is too busy trying to be a part of Dorinda's life.

There's a lot of room for emotional moments in this film, so don't forget the tissues. I love the whole idea of the film. It's great to watch Richard Dreyfuss weave his magic with a touching script. And John Goodman is the perfect buddy for, first Pete and then Dorina. In the end we have to forgive Ted for wanting to take Pete's girl. It is hard because we can see Pete is still desperately in love with her. But when he turns the corner and starts pulling for Ted, we can't help but follow.


Angels not ghosts reminds us love ALWAYS triumphs   October 3, 2000
Sam Damon Jr. (Fort Bragg, NC)
15 out of 20 found this review helpful

First, compare this masterpiece to "the 6th sense". One is an uplifting story of reality where good does triumph, the other is a dark, sordid, dangerous lie about angry, departed spirits.

This film is one of Spielberg's finest on the same level of Saving Private Ryan because of its truthfullness, and the reviewers who missed this, I hope I can explain why. We all have loved ones, and most of us have lost some at some point in life, that they could come back on a special mission as angels (not wander aimlessly in place) is a fascinating concept not without merit. The film stays true to this throughout. Certainly this is Richard Dreyfuss' and Holly Hunter's best movie. Its beautifully filmed and has awesome aerial action sequences that remind us all of the dangers the forest fire fighters go through. Now then, you have Richard D losing his life to save John Goodman, NOW THAT HAPPENS IN REAL LIFE.

But Holly Hunter is devastated, so Richard comes back to reinvigorate her life she deserves. What's beautiful is that Richard realizes that there is beauty in all of us, in that if you REALLY LOVE SOMEONE, you will want them to be loved, and if you can't be there to do this, there is uniqueness in other people that can fill this need. Richard realizes that Holly is, yes "his girl", but that that doesn't mean she couldn't find love with another person for the remainder of life--its not a competition in order to have something unique, we are all unique, its "apples" and "oranges". The exclusivity arrogance that Richard thinks makes him the "best" pilot is really not that but self-confidence, and when he takes Brad Johnson's character under his wing (pardon the pun) he realizes as a responsible LEADER that he needs to infuse his courage into him. Its an amazing thing to watch Richard/Holly/Brad change before your eyes on the screen.

The ending for me is what makes this film one of the greatest films, ever. I didn't expect it actually. My eyes water recounting it. Read no further if you haven't seen the film!

But it is realistic and true-to-life. A team of "Smoke Jumpers" are trapped by fire in the mountains. Brad must fly and water bomb drop to shield them to escape to a nearby river. Holly Hunter is a pilot, so she hops in and flies the mission for him! She will NOT stand to see him die. Now that's LOVE. And determination. WOW! That's realistic--women are known when the time calls for it to---display tremendous courage when required, for example when my mom and I were driving in fog she hit the brakes before hitting a truck and her FIRST INSTINCT was to extend her arm to stop me from flying into the windshield; now THAT'S HEROISM. Holly's character is of the same mold, she flies the mission and Richard talks her through it, the Smoke Jumpers are saved in the nick of time but her plane is hit and she is going down...into the water. She finally gets through to Richard in the process but doesn't want to live anymore...she doesn't budge from her seat. Richard talks to her and tells her she has a life to live, others are counting on her and he helps her to the surface! I believe that. I know for a fact that in your hour of need goodness will come through for you, she reaches the surface and runs to Brad Johnson.

What a great movie true to life!


ALWAYS--An Unfairly Maligned Movie   March 17, 2002
Erik North (San Gabriel, CA USA)
15 out of 16 found this review helpful

A loose reworking of Victor Fleming's 1943 World War II drama A GUY NAMED JOE, ALWAYS has to rank as perhaps director Steven Spielberg's most unfairly maligned movie. Even though it has a very old-fashioned feel updated to the late 1980s, this is still a fine movie done with real poignancy. This is nowhere near the bottom of the Spielberg canon; that dubious distinction belongs to "1941" and HOOK.

Richard Dreyfuss stars as Pete, a dare-devil aerial firefighter with a penchant for taking a lot of unneccesary chances in his line of work. As much "fun" as he has, he is worrying not only his partner Al (John Goodman), but also his one true love Dorinda (Holly Hunter). After much pressure, including Hunter's threat to leave him, he agrees to settle down and become an instructor for up-and-coming flyers in Colorado after one last mission. But on that mission, in the process of saving Goodman when his plane catches fire, Dreyfuss loses his life when his aircraft explodes. Goodman is horrified, and Hunter devastated.

In heaven (or a burned-out section of forest), Dreyfuss is met by a guardian angel (Audrey Hepburn, in her final role). He comes back to earth as a spirit, to help a rookie fire-fighter (Brad Johnson) learn the tricks of the trade. Johnson does this and more; unfortunately, he also falls head over heels for Hunter, and Dreyfuss feels the pain of having to watch this, not being able to let go. But Hepburn gives him very good counsel, and he is redeemed by saving Hunter from a fiery death in a flight through a nightmarish firestorm.

One of Spielberg's most touching movies, ALWAYS was unfairly castigated by critics as being heavy-handed and manipulative. I, however, am extremely cynical of such critics who only analyze certain films and don't really FEEL anything. This is a film of pure emotions, ranging from comedy, both dark and slapstick, to tear-jerking drama to a suspense and terror-laden climax. The cinematography and the special effects are typical for Spielberg--convincing and top notch. Spielberg, however, wisely, does not stint on the drama. Dreyfuss and Hunter are excellent, as are Goodman and Hepburn. Johnson, often heavily trashed, does a fairly good job with his role, complete with his John Wayne imitation (specifically borrowing a line from John Ford's THE MAN WHO SHOT LIBERTY VALANCE).

A typically fine score by John Williams, which presages his work for Spielberg's controversial 2001 sci-fi drama A.I.: ARTIFICIAL INTELLIGENCE, tops off ALWAYS, one of the most misunderstood movies of recent times. For poignant romantic drama, this is an essential movie, a true must-see.