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Special Features
- The characters of Gilbert Grape: Interviews with Peter Hedges, Lasse Hallstrom, Johnny Depp, Leonardo DiCaprio, Juliette Lewis, Darlene Cates and Mary Steenburgen
- The voice of Gilbert Grape: Interviews with author/screenwriter Peter Hedges, director Lasse Hallstrom and Johnny Depp taking a closer look at the creative evolution of bringing the book in to the feature film experience
- Why we love Gilbert Grape: Director, author and select cast talk about their favorite moments making the film
- Original theatrical trailer
- Photo gallery
Editorial Reviews
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Customer Reviews
Everyone in the film is constantly expecting a lot from Gilbert. Whether it's the plea from his momma that he's "gotta do better", the complaints from his sisters that he never does anything (when in fact, he does everything), or the selfishness of the married woman (Mary Steenburgen) with whom he's having an unfulfilling affair, Gilbert can't seem to ever be good enough. Contrast this with the just-happy-to-be-here existence of Arnie, who blithely tells anyone that will listen, "I can go at anytime." It's a wonder that Gilbert ever has the strength to go on.
But go on he does, using just as much effort to keep the family together as he does repressing his own anger. The film's title is ironic, in that Gilbert shows little anguish; it just appears that something is "eating" at him. It's a rather benign description of his state of mind, but on the surface it works quite well. For the most part, he vents his anger in passively destructive ways. One early scene features a couple of kids standing by the side of the road, staring at the Grape house. When Gilbert sees them, he motions one over. All the kid wants to do is get a gander at the 500 pound woman inside, and Gilbert resignedly obliges, even going so far as lifting the kid up so he can see through the window. It's a very mean moment from a young man who is angelic by most accounts. But when he lets loose of his control, when his primal nature comes out, the anger and violence and wrath and fear is very apparent.
The actors are uniformly good, with a few who should be pointed out for special recognition.
Darlene Cates, who legend has it was discovered after an appearance on "The Sally Jessy Raphael" show, plays Momma. It was important for the story that Momma not be played by an actor in a fat suit; the audience needs to be as repulsed by her as the townspeople are. But it is equally important that the audience comes to understand her plight, and feel for the woman. Cates is authentic looking, and, more importantly, authentic acting. The pathos of Momma is apparent in every defeated sigh. And when she's called on for anger, as she is in one pivotal scene where she makes the terrifying choice to leave the house, it's painfully real.
Leonardo DiCaprio, in the years since this film came out, has polarized moviegoers in to two camps. There are those who swoon at the mere mention of his name, "Titanic"-philes and Tiger Beaters all. And there are those turn up their noses at the pretty boy actor, who will always be more style than substance. Neither of these groups will enjoy what Leo does in "Gilbert Grape". They may have to scrub clean all benefits of hindsight, or at the very least time travel back to 1993, to fully enjoy his performance. And oh what a performance it is. Common wisdom states that roles with physical or mental challenges, despite being the most often praised, are actually the easiest to play. Actors develop a series of ticks, and voila! A character! Leo, to his credit, is more than just a collection of ticks as Arnie. Sure, he's got messy hair, dirty fingernails, a nose in constant need of wiping, and a primal scream laugh. But he so disappears into his character, that any preconceptions you might have about the actor get lost, and a character fully emerges. It's a seamless and highly endearing performance.
As poignant as Cates is, and as flashy and sublime as DiCaprio is, it is Depp who holds the movie together. He has to play Gilbert close to the chest for the most part, relying more on his facial expressions rather than on the sparse dialogue to communicate what the character is all about. It's not an outwardly remarkable performance, but it is supremely effective. He gets drawn out of his shell, bit by bit, when Becky shows up. Becky, Juliette Lewis in star-child mode, is a perfect contrast to Gilbert. She's open and honest and willing to let others in. Lewis is charming here, a trait she doesn't get to show often enough. She and Depp have fine chemistry together, as they try to feel their way through young love.
But for most of the movie Depp plays a kind of straight man to DiCaprio's goofball antics. They have a wonderful chemistry together, for not only do they mine some restrained comedy from these scenes, but they also ably portray a strong brotherly bond. Gilbert will care for Arnie till the day he dies; Arnie loves and trusts Gilbert, even if he has not the mental capacity to understand why.
Lasse Hallstrom has a wise knack for silences, not just in the performances, where silence is golden, but also in the film's musical score. For the most part, except for some light piano work in the most important moments, everything is quiet and still. Which perfectly mimics the solitude of the small town, in which this heartbreaking, but ultimately life-affirming story, takes place.
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