An aerial firefighter, Pete Sandich (Richard Dreyfuss, Jaws), dies during a massive forest wildfire only to return to Earth as a guardian angel to fellow firefighter Ted Baker (Brad Johnson, Flight of the Intruder), who is still learning the ropes of a very dangerous job. Pete struggles with his new mission as he discovers that his girlfriend, Dorinda Durston (Holly Hunter, The Piano), is falling in love with Ted.
Reaction & Thoughts:
“I told you, anything you do for yourself is a waste of spirit.”
Steven Spielberg’s romantic saga Always is a reworking of the 1943 Metro-Goldwyn-Mayer movie A Guy Named Joe. Despite changing the setting and the profession of the main characters, the remake follows the original’s storyline closely.
Spielberg (E.T. the Extra-Terrestrial) is apparently a huge fan of the original MGM production. However, I think this is one of Spielberg’s least successful movies. Always does look and sound great. The acting in the film is fine too. My problem with the movie is that Spielberg updated the original without improving upon it. In my opinion, the director failed to add anything to the story that wasn’t already there.
More important, I feel that there is a huge difference between people fighting wildfires and soldiers fighting for freedom in a war. I mean no offense to firefighters, this is a dangerous and important job, but I think Spielberg made a huge mistake replacing WWII pilots with firefighters — the emotional gravitas of a war movie can’t be duplicated this way. Maybe I’m biased because of my own stint in the Air Force, but it is in my opinion that Jerry Belson’s new script simply doesn’t create a strong context.
Richard Dreyfuss, Holly Hunter and Brad Johnson make for a nice romantic triangle. They certainly compare favorably with the love triangle from the 1943 movie, composed of Spencer Tracy (Boys Town), Irene Dunne (The Awful Truth) and Van Johnson (The Last Time I Saw Paris). John Goodman (The Big Lebowski), in the old War Bond role, is actually an improvement — he is always a great addition to any movie.
Audrey Hepburn (Roman Holiday and Sabrina), in her last theatrical movie, is the best thing about the film (she donated her high salary to charity). She plays the archangel “Hap.” Sadly, Hepburn only has two brief scenes. I wish she had been in more scenes because Hepburn single-handedly elevates the material a few notches. The movie could have benefited more from Hepburn’s super-movie-star charisma.
As you would expect from a Spielberg production, the movie’s technical elements are beyond reproach. Sound, production design, etc., everything is of the highest quality. The visual effects, by George Lucas’s Industrial Light & Magic, are top-notch too.
John Williams’s (Close Encounters of the Third Kind and Raiders of the Lost Ark) music score is extraordinarily effective and Mikael Salomon’s (The Abyss and Backdraft) cinematography is appropriately lush — I loved the cinematography’s hues of blue! My issues are with the script and the script alone.
Conclusions & Final Thoughts:
Always is be no means a bad movie. Maybe the movie works better if you’ve never seen A Guy Named Joe. You are supposed to judge movies on their own merits, but this is a hard thing to do when you are dealing with a remake, especially one that’s so similar to the original. Always has its defenders (the film has become a cult favorite among many movie buffs), so judge for yourself. Color, 122 minutes, Rated PG.