Customer Reviews

Things You Can Tell Just By Looking at Her

5 star:		(18)
4 star:		(12)
3 star:		(2)
2 star:		(5)
1 star:		(2)

 

 

I stumbled across this film on cable and was drawn by the cast, as most people would be when they see this impressive roster of actresses. I must have seen the title of this film, but really did not pay attention to it. Of course, the title is key to this "anthology" field written and directed by Rodrigo Garcia (yes, believe it or not, this film was created by a male of the species). I picked up on this just by noticing how the first "segment" has Christine (Calista Flockhart) give Dr. Keener (Glenn Close) a tarot card reading while the second has Rebecca (Holly Hunter) a series of similarly disquieting encounters with a bag lady (Penelope Allen). Of course, the "who" and the "how" of the "just by looking" is different in each segment of the film, which is just part of the creative brilliance of this film.

"Thing You Can Tell Just By Looking At Her" is not one of those films where the pieces all fit together (e.g, is Robert married to Rebecca's doctor?), although the ending does try to suggest that each of the five main characters (add Kathy Baker as Rose and Amy Brenneman as Kathy to the above referenced actresses) have crossed a major bridge in their lives. Most of the characters appear in more than one segment, symbolism the inherent resonance between segments, and I liked the way one of the characters was both a "looker" and a "lookee" at different times in the film's narrative web. Another major strength of the film is how Garcia always goes off in an unexpected and unusual direction throughout the film. You are constantly surprised by what is happening, not to mention what is being said, which is often outrageously compelling.

Garcia is the son of Gabriel Garcia Marquez, the Columbian writer who earned the Nobel Prize for Literature in 1982. I am sure that bit of biographical information helps to explain why Garcia crafted such an exquisite little film, but do not ask me to articulate why in any comprehensible way concerning the old nature verus nuture argument. The performances are uniformly superb: Holly Hunter was nominated for an Emmy, simply because this film was sold to Showtime instead of getting a traditional theatrical run. Hunter does have the best acting moment in the film, a scene in which she walks down the street (you will know it when you see it). Much was made of Cameron Diaz's performance as Carol, the blind sister of Kathy, but I recognized a while ago that Diaz is a "former model" who takes her acting craft and film choices very seriously. I think Calista Flockhart might be the actress who most impresses you. But as much as you will be impressed by the performances of these outstanding actresses, you have to be even most impressed by writer-director Garcia.

I am so glad I stumbled across this film. It has been quite a while since I have been this impressed by a film. I need to go check out more "independent" films, that is for sure.

One evening in the spring of 2000, I was at the movies and saw a poster for Things You Can Tell Just by Looking at Her. What an interesting title, I thought. And what a cast! I put the movie on my mental list of ones I planned to see. It never played at that theater. It never played in any theater in North America, although it was released in Europe, South America and Japan. Instead, it was sold to a big cable TV movie channel. MGM decided that it was too small a film for American audiences. I think their decision was unfortunate. Many movies intended for a limited audience have successful theatrical runs, and as so-called small movies go, this is an awfully big one. I hope it finds the audience it deserves on video.

Things You Can Tell Just by Looking at Her does not have a conventional plot. It is five stories or vignettes loosely tied together. As the title implies, they are about women. In the first one, Glenn Close plays a doctor who is successful in her professional life but not in her personal oen. Her rather cold exterior masks the fact that she is starved for affection. It is Close's best role in years. Next we meet Rebecca [Holly Hunter], a bank manager on the edge of forty, whose almost casual decision to have an abortion leads to unexpected emotional complications. There is Rose [Kathy Baker], a single Mom who writes children's books and who does her best at raising her precocious fifteen year old son. She finds herself attracted to her new next-door neighbor, a smart and confident guy who just happens to be a dwarf. Christie [Calista Flockheart] and Lilly [Valeria Golino] are lovers facing one of life's toughest battles. Finally, there is the tale of Carol [Cameron Diaz], a blind woman who understands and 'sees' life much more clearly than her repressed sister, Kathy [Amy Brenneman].

None of these stories may sound like much, but the success of a story always lies in its telling. Director Rodrigo Garcia is a master story teller. He never lets the movie drift into melodrama. The characters and the subject matters could easily lend themselves to titillation and to cheap thrills, but in the hands of this masterful director, we see these characters simply as people doing the best they know how to do despite their handicaps, both physical and emotional. This movie is very human, and that's fairly rare these days.

The cast, of course, is a remarkable group of actors. It is amazing to see them all together in one movie. What truly impressed me was the fact that all of them seems to have outdone themselves. While some of their roles are not large, I cannot think of an instance in which any of them have given a better performance. For acting buffs, the film is a rare treat.

When we refer to a movie as small, I think we generally mean one that does not get the adrenaline flowing. If so, Things You Can Tell Just by Looking at Her certainly fits the description. Anyone addicted to explosions, car chases and pumped up characters mindlessly spewing profanities will want to avoid this one. Those who like a little heart and soul, not to mention some intelligence, in their movies should find this one to be a rare treat.

A sensitive and incisive episodic drama that examines loneliness and need, emotional vulnerability and the true meaning of character, "Things You Can Tell Just By Looking At Her," written and directed by Rodrigo Garcia, presents a glimpse into the lives of seven women that is not only thoughtful, but filled with some real insights into human nature. Though the stories are independent and unrelated, the film demonstrates how the lives of people can and do overlap, and whether or not they affect one another in any way, there are things these individuals have in common that have to do with relationships or the lack thereof, and is seemingly steeped in pain, despair, indecisiveness and longing. It's a dialogue driven character study that may be the antithesis of a feel-good film, but it's riveting drama that is extremely well presented and acted, and most importantly it is very real and believable and will certainly contain elements to which just about anyone in the audience will be able to relate and identify, because they are so true-to-life.

What you see in this film may not be entirely pleasant, but it provides some thought-provoking, reflective moments that are in some cases veritably transporting, and many that are bound to hit very close to home for many viewers. Garcia seems to have a firm grasp of the female perspective and sensibility, and presents the stories of these women in a way that allows you to empathize with all of them on a number of different levels. And he wisely offsets the drama by infusing a bit of tasteful humor at just the right moments, bittersweet though it may be; without it, the film would have been just too dark, and as it is, it hovers dangerously close to the cusp of the abyss, as he layers one disconcerting situation upon another with little respite. It may sound like strong stuff, and it is; but it does what a film like this is supposed to do: It makes you "feel" something, consider some things and enables you to possibly come to terms with some emotions that otherwise you may be wont to avoid altogether. In the end, then, it makes for a truly satisfying and fulfilling experience.

Garcia put together a terrific ensemble cast to tell his story, which resulted in a number of exemplary performances, most notably by Cameron Diaz, who plays Carol, a blind woman who refuses to acquiesce to the constant compromises life offers her. She displays a fortitude that is inspiring and demonstrates that real vision, as well as true beauty, transcends the physical. In her darkness, she sees and understands the world more clearly than many who see perfectly but are blind in other ways, and though in the care of her sister, Kathy (Amy Brenneman), it is she who enables Kathy to finally get a grasp on her own life. It's a wonderful performance by Diaz, who continues to prove that she is so much more than just another pretty face up there on the screen.

Another memorable performance is turned in by Kathy Baker, as Rose, the single mother of a fifteen-year-old son, Jay (Noah Fleiss), who is a woman of true inner beauty. Rose is a former teacher who now writes children's storybooks, whom Baker instills with qualities that make her endearing and very real, including the capacity to look beyond herself and reach out to others, which in turn makes that necessary connection with the audience and predisposes the emotional involvement that makes her story so poignant and honest. There's a gentleness that Baker brings to this role, and an openness, that makes it one of the best she's ever done.

Notable performances are given, as well, by Glenn Close, as Dr. Elaine Keener, who has recently arrived at something of a crossroads in her life; Calista Flockhart, as Christine, a fortune teller whose own future with her girlfriend, Lilly (Valeria Golino) is clouded; and Holly Hunter, as Rebecca, a thirty-nine-year-old bank manager coping with the emptiness in her life brought about by, in retrospect, some questionable decisions she's made. It is rare, in fact, to find so many singularly exceptional performances in a motion picture.

The supporting cast includes Matt Craven (Walter), Gregory Hines (Robert), Miguel Sandoval (Sam), Danny Woodburn (Albert) and Penelope Allen (Nancy). Engrossing drama, delivered with integrity and subtle nuance by Garcia and his impeccable cast, "Things You Can Tell Just By Looking At Her" in an introspective treatise on life and the many aspects of it that are common, but rarely shared because of the fact that so many people live, as Carol says at one point, "Behind closed doors." It's a powerful film that makes a real impact without ever hitting you over the head with the weight of it's collective angst. And it's an important film in that it will make you think and consider-- things that are too often put off or ignored entirely, and often to the detriment of personal happiness; and when the medium of the filmmaker can maybe turn that around, it demonstrates what the magic of the movies is really all about.

I am sitting here, almost wordless, wondering
how to weave together just the right words to
describe the lusciousness of this film.

I described it to the woman at the Video store
and she said, "Sold! I am seeing it now!" after
I mentioned how real, how truthful and how artistically
woven together these stories are and how
skillfully it is crafted.

The cast is phenomenal - how many times can
that be said? What especially amazed me was
the talent in small roles - people like the
late Gregory Hines.

Holly Hunter floored me, walking alone down
a Los Angeles street - so together one moment
and falling apart the next.

Amy Brenneman as the sister who has given so
much for her blind sibling (played amazingly by
Cameron Diaz) who finally "gets it" after
an awakening discussion with her pupil.

Kathy Baker with her teen-aged son - wow.

ANd more, more, more - the camera angles, the
metaphor throughout, the connections between
seemingly unrelated characters just like there
are undoubtedly connections between YOU and
seemingly unconnected people in YOUR life as well.

My single favorite line - Calista Flockhart
as Christine, the Tarot Card reader - to Glenn
Close, Dr. Keener, the OB/GYN... "None of this
is written in stone - it is up to you, too."

This one is a keeper - a keeper indeed.

Rodrigo García's moving, anthological film about women, features strong writing, a top-notch cast (Glen Close, Holly Hunter, Kathy Baker, Cameron Diaz, Calista Flockhart... just to name a few) and unfortunately, despite big raves at Sundance last year... no distributor. Thank God for cable television. Showtime picked up this film so at least some people got to see it. And now it's available on video and DVD.

In THINGS YOU CAN TELL JUST BY LOOKING AT HER, García has attempted an Altman-like anthology. But while Altman often takes a sprawling story and links them tangentially with the numerous characters, García looks at a series of small, intimate stories that are also tangentially linked by supporting characters. Each of the stories deals with women... and the differences between what these women present to the world, and what they hold inside. In each story, there are characters who see beyond the masks these women wear to their inner cores... Callista Flockhart's tarot card reader, "Nancy" the insightful homeless woman who sees through Holly Hunter's tough, capable bank manager, Cameron Diaz' blind woman who might be a better detective than her sister, played by Amy Brenneman. It was refreshing to watch a movie about women as individuals, and not just as appendages to the men who are the real stars.

Unfortunately, the stories were uneven... with some standouts (Kathy Baker's single-mom who becomes fascinated by Albert, a dwarf who moves into the house across the street) and some surprisingly inert (Callista Flockhart caring for her lover (Valeria Golina) who is dying of cancer). I think the movie could have been tightened up, with some storylines being more deeply explored (Kathy Baker's or Holly Hunter's) and others being discarded. Still, I felt it was worthwhile, with some terrific performances

This is an unfortunate case of an excellent film missing theaters and going straight to video because it lacks mainstream appeal. The acting is top-notch and the screenwriting grabs you in - completely. You will not be able to turn away until you see the story's resolve. Rarely does a film estabish it's characters so well that you know exactly what the character is thinking, even when they are saying nothing at all. The camera angles, edititing, and lighting enhance the mood of the film so well that you can see into a character's inner thoughts only with a glance. Don't miss this one.

The absence of Hollywood-style glitz, cheesy one-liners, and fluffy storylines contributes to this movie's excellence. Another important component of this film is, of course, the thoughful and honest performance given by each of these talented actresses. They key to this film is its honesty. Many women will be able to relate in some way to at least one of the characters-- unlike Hollywood-style movies in which many of the female characters are shallow, one-dimensional, and glammed-up to the nth degree. This movie does a good job of depicting the lives, emotions, and struggles of women as they really are.

Wonderfully real episodic drama which looks at the crisis or turning point in the lives of seven women without being over sentimental.

Elaine (Glen Close) is a doctor who is more concerned with the sound of the phone ringing, hoping it will be a male colleague she is keen on, than attending to her elderly mother. Christine (Calista Flockhart), a tarot reader, reveals Elaine's inner truths, hopes and fears. Coincidence maybe overplayed a little, when this story is resolved, but it still works.

Single bank manager Rebecca (Holly Hunter) is having an affair with a married man. The successful career woman's life is put into perspective in the spectacular car park location by her smoking partner bag lady, who accuses her of being as lonely as a dog. - We don't get skies like that in Bromsgrove.

Single mother Rose (Kathy Baker) has a new neighbour Albert, a dwarf. The human nature element of how people treat minority groups differently is not ignored and is well handled, as Rose gets the car door for Albert. Influenced by her sons' admission that he is `always looking' and his unsubtle comments about dwarfs, Rose becomes more intrigued with Albert. The more light hearted tone of this episode gives the film the right overall balance given the stories it is sandwiched between.

Christine's personal life shows her looking after her dying lover Lily (Valerie Golino) during her final times. The sadness is forgotten momentarily as she tells her story of sucking a canary out of the birdcage and into a vacuum cleaner when she was growing up. Then Lily makes her tell the story of when they first met at a party resulting in Christine's heart felt response and the films best scene. Calista steals the picture, later buys some canaries.

Kathy (Amy Bremmeman) is a detective, living with her blind sister Carol (Cameron Diaz), who is working on the case involving episode wanderer Carmen. Carol's speculation about Carmen is cleverly analogous to her own relationship with Kathy. The scene where the dastardly Walter, a recent date, ignores Carol in a lift makes you feel bad.

It can be a lot to absorb at once, I had to make myself focus during `Love Waits for Kathy' near the end, but there are no weak episodes in this film. (It's been the one time I've used my scene selection facility on my dvd player to give each story a fresh start.) All the performances are excellent and the camera angles give the film something extra. One of the most impressive things is how the characters become so readable so quickly and there is not an ounce of filler or going through the motions. Look out for this one. It is not a feminist film

I didn't expect this film to touch me like it did. I picked it up half a dozen times at the video store, and finally rented it the other night.

Plot wise, it tells the story of several women, linked by emotion and random (or not)encounters with one another. (One woman struggles with her love for her sister and her social needs, another with her dying lover, one with her deep yearning for a love beyond her relationship with her son, another with an unplanned pregnancy, and so forth). We are given glimpses into their private and outside worlds.

What truly holds the movie together as a solid piece, instead of a movie version of a short story anthology, is the examination of these women's lives. Within each story an undercurrent of universal emotion tugs and ties the women and the viewer together.

The idea of telling the stories of several people and weaving them together unexpectedly is nothing new. Quentin Tarantino unleashed the idea into the major mainstream with Pulp Fiction, and I've seen it played out since then, many times, successfully and unsuccessfully.

In this movie the interweaving is done with a delicate touch. In fact, the whole movie has a quiet grace to it. The moments of these women's lives that we're given a peek into are brimming with pain, love, confusion, and unexpected moments hovering near joy.

What stunning performances! Cameron Diaz, Calista Flockhart, and Holly Hunter's characters stuck out the most for me. They were riveting. The film is devoid of flamboyance and overacting. It feels and looks real.

Be prepared for tears.

Watch it. Watch it. Watch it.

Great film. The director did a marvelous job with this one. It's a quiet film that requires a lot from the viewer. He gave a hint of that with the title. This is really a film where you need to look closely at the actreses. Watch every move. There's so much going on underneath the surface and that's what this is about.

The scene where the Glenn close character has her fortune read is a great example. If you watch her face as she listens there's an entire string of different thoughts that just barely betray themselves on the surface. Anger, denial, defensiveness, acceptance, sorrow... All these things appear and disappear without Close having ever said a word. Very well done.

Not, of course, for viewers with short attention spans, or those who've grown up on average Hollywood fare. This is, in many ways, a Latin American movie. It feels more at home beside Amores Perros or Twenty-One Grams than it does beside most movies from American directors. This is a very good thing. Garcia works his actors/actresses hard, with stunning results. Highly recommended.