Customer Reviews

A Perfect World [VHS]

5 star:		(51)
4 star:		(19)
3 star:		(8)
2 star:		(3)
1 star:		(3)

 

 

Continuing his exploration of what makes a man good, bad -- just plain human-- is what this film delves into, even more deeply than in the stunning "Unforgiven" (to his credit, Eastwood never pretends, as some male writers and directors do, that he understands women; instead, he admits that we are mysteries to him, and concentrates his energies on what he does understand: American men). Refusing to subscribe to typical American cinematic over-simplifications of "good vs. evil," Clint Eastwood delivers films that make you realize very quickly that there is no room for such absolutes when dealing with human truths. This thesis, which he has been pursuing for some time now, perhaps starting with "Tightrope" where the line between good and evil blurs to invisibility, he has, with "A Perfect World," given us a translation of John Lee Hancock's brilliant screenplay that is both beautiful and almost too painful to bear. Noted by critics at the time of its relase, but completley ignored by audiences who, it seems, found Kevin Costner as an escaped convict just too unpalatable, this film takes us on a complex journey deep into the souls of two tortured men, Costner's "Butch Haynes" and Eastwood's "Red," the Texas Ranger who is charged with running the escaped Haynes down. The past and its consequences are a continual theme in all of Eastwood's important works, and in this film, the ironies are neck-deep and take time and patience from the viewer to unravel. Even the decision by Red to commandeer the vehicle the Governer intends to ride in the next day when President Kennedy will be in Dallas (this is 1963) brings up the question: would the Governer have been shot had he been in this vehicle instead of in the President's car? This is one subtle example of how decision and consequence are continously explored in this most thought-provoking of films.

Kevin Costner gave probably the best performance of his life, cast against type as a complex man who cannot be called either bad or good, merely profoundly human, whose life has followed a course laid by poverty, homelessness, a suicide mother and a felonious father, a bit of high spirits, and high intelligence with nowhere to go, but most importantly, the Texas penal system as it was managed in the 60's. Haynes' moral center, despite his acts, never wavers, and it is that moral center that propels events which finally spiral out of his control and into tragedy. But we see, clearly, that even a so-called "bad" man can be good enough to inspire genuine, deep love that, in the end, redeems both him and the person whose initial action started the long chain of events that ends with the 36 hours over which this film takes place (we discover who this is along the way, and I don't want to lessen the impact of any discoveries). Another reviewer here implied that it was Eastwood who is responsible for Costner's excellence in this film, but having seen so many interviews with his actors, it is generally understood that Eastwood casts his actors, then leaves them alone to find the character and reveal him without a great deal of interference, so it would seem that the credit is, indeed, Costner's. Sadly, he never again worked against type, perhaps because of this film's commercial failure, but this performance will always stand as testament to what he can do, and never is that performance better than in the house where Cajun music on the Victrola and senseless violence against a boy much of an age as Butch himself was when violence entered his life, combine to send him into a sort of fugue state of memory, pain, longing, rage, and ultimately, the loss of control that brings things to a terrible end.

The boy, Philip, with whom he bonds (played beautifully by the transparent T.J. Lowther) also gives us his heart laid bare, and the rapport between the two of them is completely believable. We understand the child's repeated choices to stay with Butch, and the reasons go far beyond the superficial need for a father (his is gone), and into the realm of love. It is from Haynes that he learns the lesson that exacts the price of Haynes' escape, but then it is his love for Haynes that makes it bearable, and even right, for both of them, as in the end, he becomes the protector--the man--whose job it is to help a loved-one who can no longer help himself.

When a film's characters are torn apart by the end of a film, its viewers should be, too, and we definitely are. It is a difficult, heart-breaking journey that Clint Eastwood insists we take with him, but taking it brings us to the point where we should start each day: from scratch. Red's last line is, "I don't know a da*n thing anymore," and that is exactly the point and the purpose of this story. We should never, ever think we have all the answers; to do so is fatal, as Red learns. Every day we should be willing to examine our beliefs and look back, with honesty, at what we've done, and look forward to what we're about to do with eyes wide open and with some sort of awareness of potential damage, and know, always, that there is no good "us," no bad "them," but that we're all only human beings, deeply flawed and yet filled with the capacity for love and connection, each of us doing the best we can.

This film has two of Hollywood's biggest stars - Eastwood and Costner - both of whom give great performances. But it's the young actor who plays the kidnapped boy who steals the show. This drama is set in Texas, early November 1963 - shortly before JFK's fateful visit to Dallas. An escaped convict (Costner) kidnaps a boy and is on the run from the law (Eastwood) and each of their lives are changed forever. The film is especially touching whenever it focuses on the growing relationship between the convict & boy - Costner's portrayal of the tough escapee with a kind heart is great and the boy is so natural and likeable. Under Eastwood's direction the film is controlled and avoids the pitfall of melodrama. The ending is tragic yet inevitable. I think this is one of Costner's best performances and was surprised when the film seemed to be overlooked by the media. I loved the whole feel of the movie and cared about the characters - even some of the minor ones like the sharecropper family. I highly recommend this film.

The story was very unique and I actually really cared about the characters and how their stories unfolded. Even the kid was really cool, and I don't often like kids in movies. Kevin Cosnter gives an exceptional performance, ranking among his best. I love the scene at the end of the film where he is dancing with the wife of the family he has just assualted. Genius. And Clint Eastwood manages to pull off another stellar performance even as a supporting character. He directs the film as well, and manages to tell and original, intelligent emtional stroy. Bravo!

The film is impressively even and kept my interest from the beginning titles all the way to the end credits. Not many films of the 1990's are capable of doing that, but "A Perfect World" is a cut above the norm.

Hats off to all involved who decided to make a truly thoughtful and powerful film without resorting to computer-generated images, explosions, aliens, etc. This film is definitely a stand-out.

This film is one of those rare movies that manage to use the strengths of all involved. First, this is the very best of Clint Eastwood both as a director and actor. Eastwood the director learned his trade from Don Siegel, who made a bunch of no-nonsense 70's action films, many of them with Eastwood as the star. Eastwood learned his trade well from the master. He can edit the fat out of a film very effectively. Eastwood the actor really shines in this film as well in a supporting role as a Texas Ranger at the tail end of a career doing a kind of slow burn as events unfold around him.

This film is also Kevin Costner's best work ever, and one has to imagine it came because Director Eastwood sat on him hard. Whatever, Costner gives a very, very good performance, full of depth as a prisoner on the lam. He is actually tough and touching at the same time, no small feat for any actor.

Finally, Laura Dern is also at her best in this film. What happened to her, anyway? Where did she go? Anyway, the romance between the Eastwood character and Dern is understated and very moving, as each character slowly gain respect for the other. Dern is not classically beautiful, but she comes off as very real and smart, with a sense of humor and a real humanity. Hollywood needs more like her, instead of fashion models playing cops. Dern looks natural as hell in the role with a beauty, as corny as it sounds, that comes from within.

All in all, a vastly overlooked gem that is well worth owning.

Kevin Costner turned up in his best role in years in this excellent drama of an escaped convict, serving time for a series of armed robberies who kidnaps a young boy and holds him hostage. Along the way the boy soon befriends Costner. This film remains tense and gripping throughout, holding many moments of suspense, The acting is great from a cast that also includes Clint Eastwood who also directed this movie. Its great to seee such two great actors together and its a pity they dont share any of their scenes together. There are some moments of comedy too giving this the balance it needs to be a good film. Very good scripts throughout the film and the ending is surprisingly quite moving. Highly recommended!

this film kicked me in the gut. I don't understand how it has been so seemingly overlooked: Costner should have have been nominated for an academy award for his portrayal of Butch Haynes, a man with some good at heart but constantly teetering on the edge of violence. he isn't aware of his predelictions-- he isn't trying to be good, quite the opposite. but he seems to do good in spite of himself. you must pity him as someone trapped in their own violent past, trying to rewrite it by befriending his young hostage, and still trying to move hopelessly towards an unattainable future.

the final scenes of this film are inevitable, and almost too painful to watch.

Eastwood's direction, especially that of the boy and Costner, is tremendous. also, the flat-eyed, totally irredeemable character of the FBI sharp-shooter makes for a good contrast with Butch: both kill an equal number of people in the film: one. yet which killing is the more justified?

In 1993, this was the best movie yet that Eastwood directed. Costner was perfect. It was right on target about lack of parenting and abuse and the consequences in adults. The damage that is done. Quite a moving experience. Eastwood does not back away from raw and hard emotion, nor does he give any answers. This, together with "This Boy's Life" , with De Niro, Ellen Barkin, and DiCaprio, really protray an abysmal picture of the way children are thought of in America. Children, our future, the best part of us. I was very affected by this film, of children in jeopardy. For a man who started out so silent and stony in his early movies, a man so hard and barren, in his direction he can really bring emotions to the quick - he never backs away. There is a real tender soft core here. One of the best movies of 1993. It says something and that something important that needs to be said in this country at this time. The child in this film was never in danger - it was always Costner, the adult victim of a damaged childhood. One small note: the child actor here grimaced a little too much, he looked forced and directed.

Clint Eastwood's follow-up to his award-winning "A Perfect World" was this dark, unconventional masterpiece about fatherhood, masculinity and the criminal justice system. The cast is flawless, including Kevin Costner (never better), T.J. Lowther (as fine a child performance as you'll see), Laura Dern, and Eastwood himself (mostly comic relief, but devastating in his dramatic scenes). The screenplay is superb, from the smart dialogue to the examination of issues like the cyclical nature of violence. Eastwood as director is in peak form, especially during the film's riveting final 30 minutes in which the cinematography, music and editing all build to an unforgettable climax. An outstanding, overlooked film that is ripe for re-examination in the wake of Eastwood's recent Oscar winners "Mystic River" and "Million Dollar Baby."

This is a relatively slow paced (but well-intentioned) movie that is very deftly directed by Clint Eastwood. The film demonstrates Eastwood's typical minimalistic approach to directing, and relies on character development and exploration moreso than it does story. This bare bones approach by Eastwood works like a charm, to bring to film a whimsical tale.

Costner pulls off probably his most laudable and competent role in any of his movies, transcending even Dances with Wolves. His effort is very understated, controlled and ultimately utterly convincing in his delivery. This role from Costner is equally and ably supported by T J Lowther as the young boy Philip. The performances of these two actors ultimately make this such a winning film. They are ably supported by Clint Eastwood and Laura Dern.

What really drives this film is the relationship that develops between Butch and Philip. Philip gets his much needed father figure and Haynes gets an opportunity to play a more fatherly role to Philip than the father who neglected him. By three quarters of the way through the movie the viewer is hoping that Haynes and Philip can escape the manhunt and start new lives together - which in a perfect world probably would have happened!

Without disclosing the ending, what ultimately happens in the movie is a true testament to the depths reached and expressed between man and boy. In a very unmelodramatic fashion a heart-wrenching ending is reached.

By the end this a whimsical story of might have beens, and possibilities. The understated manner in which all aspects of the movie are approached make it all the more poignant and fulfilling. Anyone who likes a good solid drama should appreciate this film!

P.S. A number a criticisms directed at the portrayal of Jehova Witnesses is unfortunate. The movie is clearly not intending to pass any judgement on such beliefs. In any religion the level of piety is very much a personal thing. The story could have portrayed Philip's mother as belonging to any number of churches and still have her depicted as sheltering her children!