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Editorial Reviews
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This huge 1993 hit for Robin Williams and director Chris Columbus (Home Alone), based on a novel called Alias Madame Doubtfire by Anne Fine, stars Williams as a loving but flaky father estranged from his frustrated wife (Sally Field). Devastated by a court order limiting his time with the children, Williams's character disguises himself as a warm, old British nanny who becomes the kids' best friend. As with Dustin Hoffman's performance in Tootsie, Williams's drag act--buried under layers of latex and padding--is the show, and everything and everyone else on screen serves his sometimes frantic role. Since that's the case, it's fortunate that Williams is Williams, and his performance is terribly funny at times and exceptionally believable in those scenes where his character misses his children. Playing Williams's brother, a professional makeup artist, Harvey Fierstein has a good support role in a bright sequence where he tries a number of feminine looks on Williams before settling on Mrs. Doubtfire's visage. --Tom Keogh
From The New Yorker
Robin Williams impersonates a stocky, middle-aged female housekeeper, and he's too inventive an actor not to get a few gigantic laughs out of the stunt. (His makeup and wardrobe may remind alert viewers of Burt Lancaster's drag cameo in "The List of Adrian Messenger.") But the picture as a whole isn't in the class of "Tootsie" and "Some Like It Hot," mostly because its premise is sentimental, not cynical: Williams's character, a divorced man, becomes Mrs. Doubtfire in order to get around a court-ordered custody arrangement and spend more time with his adorable children. Lessons are learned, loved ones are hugged, and personal growth is achieved-as usual, at the expense of comedy. Some, apparently including Williams, like it warm and cuddly, too. Nobody's perfect. Also with Sally Field, Pierce Brosnan, Robert Prosky, and Harvey Fierstein. Directed-with a very heavy hand-by Chris Columbus, from a script by Randi Mayem Singer and Leslie Dixon. -Terrence Rafferty
Copyright © 2006 The New Yorker
This huge 1993 hit for Robin Williams and director Chris Columbus (Home Alone), based on a novel called Alias Madame Doubtfire by Anne Fine, stars Williams as a loving but flaky father estranged from his frustrated wife (Sally Field). Devastated by a court order limiting his time with the children, Williams's character disguises himself as a warm, old British nanny who becomes the kids' best friend. As with Dustin Hoffman's performance in Tootsie, Williams's drag act--buried under layers of latex and padding--is the show, and everything and everyone else on screen serves his sometimes frantic role. Since that's the case, it's fortunate that Williams is Williams, and his performance is terribly funny at times and exceptionally believable in those scenes where his character misses his children. Playing Williams's brother, a professional makeup artist, Harvey Fierstein has a good support role in a bright sequence where he tries a number of feminine looks on Williams before settling on Mrs. Doubtfire's visage. --Tom Keogh
From The New Yorker
Robin Williams impersonates a stocky, middle-aged female housekeeper, and he's too inventive an actor not to get a few gigantic laughs out of the stunt. (His makeup and wardrobe may remind alert viewers of Burt Lancaster's drag cameo in "The List of Adrian Messenger.") But the picture as a whole isn't in the class of "Tootsie" and "Some Like It Hot," mostly because its premise is sentimental, not cynical: Williams's character, a divorced man, becomes Mrs. Doubtfire in order to get around a court-ordered custody arrangement and spend more time with his adorable children. Lessons are learned, loved ones are hugged, and personal growth is achieved-as usual, at the expense of comedy. Some, apparently including Williams, like it warm and cuddly, too. Nobody's perfect. Also with Sally Field, Pierce Brosnan, Robert Prosky, and Harvey Fierstein. Directed-with a very heavy hand-by Chris Columbus, from a script by Randi Mayem Singer and Leslie Dixon. -Terrence Rafferty
Copyright © 2006 The New Yorker
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