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Ordinary People (Region 2)

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I have seen "Ordinary People" at least a dozen times over the past 17 years. I was 15 when I first saw it. It is one of a small handful of films that I have turned back to over the years as I've grown for new insight and meaning with profound results (others include "Midnight Cowboy" and "Taxi Driver"). Each and every time I see this, I see something new and am still deeply affected.

People and critics throw out the phrase "works on so many levels". This is an ideal film to model that nebulous concept. You could ask 50 people to screen it and ask them what they think it is about, and you would get 50 different responses. You could ask those same 50 people to screen it again in 5 years, and then ask them what they think it's about. You would get 50 different responses again. And so on and so on. You would get "it's about suicide", "it's about [someone] that dies", "it's about a family tragedy", "it's about teen depression", "it's about a cold mother", "it's about a dysfunctional family", and on and on. These are all true (and then some) so it's nearly impossible to describe this film in a nutshell.

"Ordinary People" (the movie and the great book from which it was adapted) shows us how families can go on for years and years (and even generations) without ever realizing or having to assess how everyone feels about one another. Some families get away with it, for things run smoothly on the surface. But sometimes things happen to shatter that facade. Could be an illness, a drug problem, a divorce, a death, whatever. Sometimes something so terrible happens that a family is forced to face each other and speak the unspoken. But sometimes, the unspoken simply cannot be spoken, at least by some of the members.

That is the case with this family. The mother is so empty and emotionally sterile that it is clear she had never been a true part of that family. At least outside of her first child. ...The father struggled with his feelings, and wanted to share them, but probably felt unable to with such a cold, heartless matriarch in the family. And the... son didn't know what... he wanted, and was caught somewhere between his mother's sterility and his father's earnestness. He was always trying to please both, never realizing that it would never happen with his mother. At least until [something happened], for which the guilt mounted and mounted (with little help from his parents to relieve).

Watching these three characters (well, two, really, for the mother is emotionally arrested) cope with this tragedy and assess their positions in the family unit is so compelling and so wrenching that it's almost voyeuristic. Robert Redford's direction really does feel like we're peeking into the windows of a family that we "know" down the block. Little did we know (or did they) what was really going on.

This is a somber movie; it is not a simple TV movie-of-the-week. It shows that serious pain must be endured before pleasure can be found/regained. You can't sweep anything under the rug. And honesty is a must in any family or relationship; communication is vital to its survival. There's no way around it. Sometimes the communication will lead you to the worst conclusion--that you simply cannot get along--but the truth always prevails. Because only in truth can you even try to change/understand/improve things.

Technically speaking, this is superbly crafted. The acting is brilliant, the direction is penetrating, the dialogue ranges from exuberant to shattering, and everything else is perfect. I've seen a lot of movies, and it still amazes me that one of the most grueling, heart-wrenching pieces of acting I have ever seen was by young Timothy Hutton. The sight of his face and the sound of his voice will tear you apart. To me, that young actor carried the bulk of this heavyweight picture. He is nothing short of brilliant here. Donald Sutherland, definitely a great actor, hasn't been any better than this. To me, he is the ultimate portrait of the honest man struggling with his confusing role as a father and husband. And Mary Tyler Moore, of course, is frighteningly intense as the mother; it's impossible to link this woman to Mary Richards. Great support from everyone else, including the wonderful Elizabeth McGovern (with a character that receives much more development in the novel), and Judd Hirsch as the boy's psychiatrist (their scenese together are brilliant).

I can't stress this film's importance enough. It demands multiple viewings. It is a shining example of how much insight film (and art in general) can shed on our lives if handled with care, taste, and realism. It covers ground that is universal to us all, regardless of family background. Don't cheat yourself out of a profoundly moving experience. And it just might change your life. Now how many movies can you say that about?

The subtle masterpiece and Academy Award winner for best picture of 1980, "Ordinary People", is a heartbreaking, character driven tale that evolves around the lives of an upper class, suburban family in Chicago. The troubled son, Conrad Jared (played by Timothy Hutton), must make an awkward and difficult transition into high school and home life after months in a mental hospital for attempted suicide, greatly due to the loss of his older brother. He is still haunted by his past and desperately longs for a connection with his distant and broken mother, Beth (played by Mary Tyler Moore), as well as a sense of belonging and normalcy, which he searches for during his weekly interactions with his psychiatrist (played by Judd Hirsch), who slowly unlocks the boy's inner pain and mysteries. The concerned father, Calvin (played by Donald Sutherland) tries frantically to assure his son and piece the family back together; however the emotional struggles the family must endure brings out each member's true colors and weaknesses, including the fathers.

"Ordinary People" is carefully crafted, incredibly honest, and touching. Each character is depicted with great depth and sincerity. Hutton delivered an intense, thoughtful and true performance, receiving a well-deserved Oscar for best supporting actor, although the title, best actor, would have been more suitable... the role was made for him, and he owned it with such care, often speaking more with his eyes and body language than words. Another highlight is Mary Tyler Moore, who tackled her first dramatic role amazingly, surprising audiences with her profound, Oscar worthy and most memorable portrayal. Hirsh (who was nominated for an Oscar for the film as well) and Hutton also had great chemistry together -playing off of each other very naturally - certainly a plus for fans of "The Sixth Sense", "The Prince of Tides" and "Good Will Hunting", and Sutherland gave a notable performance as the lost, but hopeful father - which led him to an Oscar nomination.

The characters of this film are surprisingly real and easy to relate to, even the adult friends of Beth and Calvin, as well as Conrad's friends are so believable -making "Ordinary People" one of the greatest character studies of all time. What I really loved about this movie is that it gave nothing away - it trusted the audience to figure out what each character's motives were and what they were thinking, a refreshing change from the regular, Hollywood movie of today - in fact another aspect which made the film so refreshing was that unlike other family dramas it was very unpredictable. Watching "Ordinary People" is a very inexplicable experience, not relying on anything but truth to get its message and entertainment across - its almost like looking into a mirror... bravo to the writers and actors who depicted each character with such layers and candor, possibly paying more attention to detail then the creators of "The Sixth Sense" and other acclaimed mysteries. And not only that, but this movie leaves audiences with a new perspective and a lot to ponder.

This is Robert Redford's directorial debut and by far his greatest. The winner of four Oscars, "Ordinary People", is a classic that cannot be missed, proving once again that the average person is more interesting than a love triangle or action sequence! It is a breakthrough, flawless film that is true to reality, yet is well balanced with comedic relief, suspense and a little romance between Conrad and a girl from his high school. However, we view this relationship realistically and we feel the anxiousness and nervousness between the two without the glamour and lines that could only have been created by a screenwriter or James Bond. Although the movie may appear to be simple on it's exterior, accompanied by only one instrumental piece, Pachelbel's "Canon in D", it has many heavy layers that are thrilling to explore. I feel this film, among other things, is about humanity; what regular people are capable of doing to others out of fear. This is a vital movie for every teenager and adult to see.

(... This movie) won a Best Picture Oscar, so I figured it would be good. I had no idea. Ordinary People is an astonishing movie where nothing is as it seems. The title itself is ironic, because although the Jared family seems like your typical American family, they are by no means so. Mary Tyler Moore plays Beth, the emotionally retentive mother who would rather not face the unseen demons that are rapidly tearing their family apart. Her performance captures the inner coldness and turmoil that is necessary to the character. Donald Sutherland is also excellent as Calvin, the sociable father who feels somewhat responsible for the problems of the family and wants healing. The regret and sadness of his character shine through, what an excellent job. Judd Hirsch is Dr. Berger, the psychiatrist who helps the family try to heal. But the movie is stolen by Timothy Hutton, who plays the young son Conrad, who had previously attempted suicide. His portrayal of the anguished, emotionally dead Conrad is a virtuoso performance. Eventually, through the help of Dr. Berger, Conrad is able to stop blaming himself for the death of his brother and move on with his life. Perhaps the most tension-filled scene in the movie for me was when Conrad found out that his friend had committed suicide and he goes into the bathroom and turns on the warm water and we see the scars on his wrists, and we can only wait to see if he is going to try it again. Another thing, brilliant direction by Robert Redford. Instead of using indulgent film shots or camera tricks, he just allows the camera to focus on the action, the right approach, even though he might have been tempted to try that kind of thing to prove himself in his first film. This is a great movie, one of the best ever made. Make it the next one you see. However, the DVD version is a little plain (...).

You may have seen American Beauty and The Ice Storm as moving chronicles of everyday lives or dysfunctional families, but this could easily be the movie that set the trend. I chanced upon this this film without knowing anything about it, except that it was Robert Redfords directorial debut, and was truly surprised!

The narrative is remarkably credible and smooth. The writing is superb, there is not one moment in this film that feels false or "acted." The dialogue is extremely well written, but Redford, like Clint Eastwood or Kunrick, was not afraid to exploit moments of silence as well.

I cannot believe that Donald Sutherland wasn't even nominated for a supporting cast role, he leaves a taste of his presence long after the credits have rolled. Mary Tyler Moore was very successful in potraying the odious mother who cannot even feel her own despair after her favorite son's death in a boat accident. But hats off to the pivot of the movie, the younger brother who survived the accident, played flawlessly by Tim Hutton! I guess a performance that is also quite easily overlooked is that of Judd Hirsch, in a seemingly background but very important role of the younger son's psychiatrist.

Somewhat atypical of Hollywood, there are no happy endings and chiming bells to "Ordinary People." This is a deep, dark movie that journeys into the worst, most difficult situation a family must ever face, and comes out with a very natural resolution (of sorts.)

A must-watch treat!

I remember being in a dormitory TV room when "Ordinary People" won the Oscar for Best Picture, and the guys screamed and hissed and booed and some stormed out.

And why? I knew immediately that it was because "Raging Bull" had lost.

I'm not deriding "Raging Bull" in any way-- it was a fine film, and the directing/acting was terrific... But I knew very well that depite "Bull"s admitted quality, this room of gorillas were furious and indignant not because they really appreciated the artistry of that film, but they wanted a macho film with lots of scenes of guys beating the hell out of each other to win... Some movie-goers would also vote for "Pulp Fiction" and even "Kill Bill" over, say, "Ordinary People" for Best Picture as the latter has no graphic violence.

It's that simple, and that silly.

The suggestion that this win was one of the greatest travesties in Acadamy award history is--- well, it's just a buncha raging bull.

"Bull" was good, but "Ordinary People"s haunting (there's that word again), finely textured, understated view of a disintegrating middle-class family after the death with which none of them can deal of the in-house golden-boy, is the more affecting film. Some may claim the movie is now "dated" in that so many pictures have followed focusing on or dissecting middle class suburban life, but I've generally found those to be either too 80's-style-self-conscious, and/or too smug, and just quirkily unconnected to reality (and please dont confuse "Terms of Endearment" nor "American Beauty" with "Ordinary People"!)

"People" succeeds through understatement and lack-of-pretense, and from the fact that it was filmed in a now-bygone era in which posturing and political correctness weren't required from the script or the participants.

The Academy got it right.

Nearly 21 years after its release, "Ordinary People" remains an absorbing and deeply moving story of an upper middle class WASP family coping with tragedy. The three lead performances couldn't be better. And what inspired casting---Mary Tyler Moore shedding her Mary Richards persona to play a brittle, aloof mother, and Donald Sutherland---in a rare non-eccentric role---as the father grappling with the tensions between his wife and son (brilliantly played by Timothy Hutton). "Ordinary People" has been criticized in some quarters as the undeserving winner of the Best Picture Oscar in 1980 over "Raging Bull." I disagree---Redford's film may not demonstrate Scorcese's technical and stylistic bravura, but I have always found "Ordinary People" to be a much more affecting and memorable experience than the brilliant but cold "Raging Bull." I viewed the DVD of "Ordinary People" several days ago and while the video transfer is fine (the film has never looked better on video), the lack of extras is disappointing, especially considering the importance of the film in Paramount's library (and the [price] for a bare bones DVD is another problem). The DVD release was delayed for nearly 6 months to give Redford the time to record an audio commentary, but those plans apparently fell through. It would have been fascinating to hear how Redford or any of the lead actors approached the challenges of making the film: Redford's first as director, for which he won an Oscar; Moore and Sutherland playing very much against type; and Hutton in his breakthrough and Oscar-winning role. A lost opportunity.

Ordinary People was released during the late 70's/early 80's emotional family themed era. These movies especially grappled with dysfunctional families and the pains associated with domestic strife. Ordinary People differed specifically because of solid acting from the leading actors/actresses to the stellar supporting cast. It also marked the debut of Robert Redford as a director.

The Jarrett's are your "typical" suburban family, but with a recent tragedy that has shaken the core of their structure. The eldest son, Buck was involved in an unfortunate accident that cost him his life. Marred with guilt from the accident, young Conrad Jarrett (Timothy Hutton) blames himself for the accident and attempts to take his own life. The movie centers on the bandage Conrad's mother Beth (Mary Tyler Moore) attempts to use to shield her family from sympathy and pity from the community. This defensive stance she takes unfortunately has created significant space between her and Conrad. It is Calvin Jarrett (Donald Sutherland) who is the man stuck in the middle of hostility between a dejected son and confused mother. Calvin's awakening towards the end of the movie proves to be the means of progress that the Jarrett's were in desperate need of.

The acting from the main characters was superb. Sutherland and Moore both complimented each other very well. Their intimacy was believable and their emotional scenes were intense. The newcomer Timothy Hutton steals the movie though as the troubled younger brother in desperate need of emotional support and guidance. Hutton's performance was emotionally charged with signs of maturity for an actor of his age. Judd Hirsch also steps up to the plate and provides some light comical relief as the psychiatrist grappling with first Conrad, then Calvin.

In 1980 many good movies came out, but Ordinary People took home the top honors. As debated this can be, what cannot be dismissed is the effectiveness and brilliance of this movie.

This is one of the best movies of all time. For those interested in the process of healing, grief, and family dynamics, this is a must see movie. In particular, those involved with the helping professions as therapists or seeking therapy services, this is a great watch.

"Ordinary People" (1980) is one of those rare classic films that has lost none of its power and remains relevant and fresh nearly 25 years after its original release. Robert Redford's film debut, based on the modern classic novel by Judith Guest, packs the same powerful emotional punch on the tenth viewing it does on its first.

The story is simple but deals with incredibly complex emotions that take its characters and the audience into some pretty dark places. On first look, the Jarretts are an ordinary, upper-middle class family consisting of businessman father Calvin (Donald Sutherland), homemaker wife Beth (Mary Tyler Moore) and teenage son Conrad (Timothy Hutton). But something is definitely wrong. Conrad has trouble sleeping and has slash mark scars on his wrists. Calvin seems overly concerned with his son's health, while Beth is obviously in serious denial about something. Then there's the bedroom at the end of the hall that is filled with another, absent son's possessions--an older son named Buck, whom we gradually discover has recently died in a tragic accident in which Conrad had some part. It's not until Conrad starts seeing a psychiatrist named Berger (Judd Hirsch) that the circumstances of the accident, and the fragile state of the Jarrett family's emotional health, starts to unravel.

"Ordinary People" is a perfect movie. Not one scene, line of dialog, characterization or camera shot is out of place, wasted or unnecessary. Redford directs with the sure hand of an old pro, and screenwriter Alvin Sargent (who recently wrote the superior script to "Spiderman 2") has accomplished something unthinkable: he's actually written a script that improves on the original novel, which is pitch-perfect in its own right. And the performances are phenomenal: Hutton won the Best Supporting Actor Oscar for his brilliant turn as a suicidal teen simply crying out for his mother's love, while Moore deserved one (but lost out to Sissy Spacek's equally deserving work in "Coal Miner's Daughter") as a mother who buried her heart with her favorite son and cannot bring herself to give her surviving son the love he needs. And Hirsch is a tower of strength as the understanding psychiatrist who forces Conrad to unlock the keys to his memory and understand why he has lost the will to live. But the truly unsung hero is Sutherland, in an atypical role as a loving father who is supremely concerned about his son but simply can't crack through the surface of either wife or son to get to the root of the problem. M. Emmett Walsh (as a swimming instructor), Frederic Lehne (as a concerned friend) and Elizabeth McGovern (as Conrad's potential girlfriend) add key support, while Dinah Manoff is simply a knockout in her one scene as Conrad's obviously unstable mental patient friend.

But the real genius of the film is in the casting of Mary Tyler Moore as the coldest, and most hated, mother since Angela Lansbury in "The Manchurian Candidate." That Redford saw this character in the actress who previously was best known as the bubbly heroine of "The Mary Tyler Moore Show" has to rank as one of the riskiest, and ultimately most insightful, casting decisions in cinema history. Mark my word, in a film filled with haunting imagery, you will never forget Moore's last scene, in which she pathetically struggles to maintain her composure when she realizes her whole world has come crashing down on her.

"Ordinary People" won the 1980 Best Picture Oscar, as well as awards for Hutton, Redford's direction and Sargeant's script. Critics have maligned the choice for over two decades because it beat out Martin Scorsese's masterwork "Raging Bull," which is admittedly an outstanding film. Maybe this really is one of the all-time Oscar tragedies like many say. But one thing is for sure. "Ordinary People" is the rare film that has the power to not only change lives, but save them, too, if people take its message to heart. "Raging Bull" is simply a vivid biopic of a heinous man. I'll take the former any day.

***** (out of *****), although the DVD is a typical bare-bones, extras-free (except for the original trailer and 1:85:1 widescreen format) Paramount package. Next year is the 25th anniversary, so here's hoping Paramount DVD opens the pursestrings and presents the extras and cast commentary this classic film deserves.

"Ordinary People" is a haunting story of one family's deterioration in the aftermath of tragedy. After the oldest son is killed in a boating accident on Lake Michigan his parents and younger brother are left to deal with their loss - each in their own way. The father, Calvin (Sutherland), trys to reach out to his emotionally crippled wife, Beth (Tyler-Moore), only to find a wall of denial. The remaining son, Conrad (Hutton), feels he is to blame and in his guilt has attempted suicide. Upon his return home from a psychiatric hospital, Conrad tries to resume his life in the affluent Chicago suburb of Lake Forest. Some of his friends try to reach out to help him - others are coarse and insensitive - Conrad can't seem to respond to any of them - until he meets a girl from the other side of the tracks. Conrad's relationship with his psychiatrist (Hirsch) is heartwarming. Meanwhile, Calvin and Beth continue the charade which is their life until they can't pretend anymore. Each actor gave the best performances of their careers in this film - and Redford has crafted a restrained, deeply moving adaptation of Judith Guest's excellent novel while avoiding the pitfall of melodrama. This is one of my favorite movies - but it's hard to watch and will linger for days after.