Reviewed by Glenn Erickson
Robert Redford's directorial debut is a stunning drama that hit 1980 America with the downer news
that not only was there such a thing as dysfunctional families (a newish term at the time), but
that understanding and awareness of real interpersonal problems, didn't provide the instant cures we
were used to seeing in movies.
The Jarrett family has had two crises and is heading for a third. The favorite son
has been lost in a boating accident, and the resulting misery has incited the second son Conrad (Timothy
Hutton) to attempt sucide. Now he's recovered, but struggles to keep up a stoic emotional front,
while his caring father (Donald Sutherland) and his rather cold mother (Mary Tyler Moore) try to
help him shake off the problem by minimizing it. Conrad finally accepts the help of psychiatrist
Dr. Berger (Judd Hirsch) and confides in a potential
girlfriend, Jeannine (Elizabeth McGovern) in a attempt to make the pain go away and to 'stop
worrying other people'. But the problem goes much deeper than that, to the relational roots of the
whole Jarrott family.
I remember clearly the shock of Alfred Hitchcock's The Wrong Man, when Henry Fonda bounds
into his wife's asylum cell with the good news that he's been acquitted, that she needn't be so
depressed, and they can now resume their 'normal' life. But, to Fonda's surprise, the revelation doesn't do any good,
Vera Miles remains semi-catatonic, and even the title proclaiming her later recovery is unconvincing.
As in the anarchic Bigger Than Life made just the year before, the unspoken horror is that
the crisis in Miles' life may have simply unleashed deeper psychological doubts and despairs - that it is
possible that the catatonic, unresponsive Miles is the real one, underneath the complacent, sane veneer.
Ordinary People was made over 20 years later but still gets most of its oomph from our similarly built-in
expectation of oldfashioned psychological dramatics. In films like Spellbound, psychotics and
manic-depressives may be near-murderous one moment, yet instantly cured just by learning some key
piece of information. Rubbish, hogwash, and fal-de-ral, as they say: 'Ordinary' people are anything
but that, and human nature is anything but predictable. The combination of a thoughtful script, astute
direction and inspired casting take a grim story and make it instantly recognizeable as our own. For
who can claim that their nuclear and extended families are exclusively populated with people whose behaviors and
attitudes are always rational, and who communicate well with each other?
Savant can't think of a film before Ordinary People that more clearly shows how even strong
and decent people are so completely unequipped to deal with unpleasant issues. I've had some
close scrapes with disaster in my family, but have never had to permanently face the results of a
death or a suicide attempt such as the one that rips apart the Jarretts.
The film is so low-key and unassuming that its power sneaks up on you. Redford shows himself to be an
exemplary director of actors, who refrains from grandiose directorial effects. Before you know it,
Donald Sutherland has made you forget all of his previous performances. He's
a caring and sensitive father whose tolerant nature may not have been the best thing for his
relationship with his wife. Everyone's favorite sitcom sweetie Mary Tyler Moore turns in the role
of her career as the mother. Her closed-off, defensive character is utterly unable to relate to others
beyond the superficial, and Sutherland's discovery of the degree
he has always taken her public persona at face value, is frightening. Do we really know the people
we live with? How do we judge their sincerity? Did the Jarretts function well until the accident,
or was the family always sick, for favoring one son above the other?
Ms. Moore began her career as a pair of disembodied legs on a television detective show, and her squeaky-clean
image became well-known through movies like Thoroughly Modern Millie. I don't think anyone
expected her to come up with the honesty and power she shows here, not to mention the
willingness to project such an unlikeable persona on screen. She does it with depth and clarity; we
understand that she has an inability to relate to others outside of a safely-defined orbit of niceties
and social rules. When she greets a friend on a department-store escalator, you'd think she was the
most emotionally affectionate woman possible. Ordinary People has some good lessons to
teach about divorces and messed-up families, which in real life come less from cruel betrayals or
sinful transgressions, but simply grow from our basic natures.
The actual center of Ordinary People is Timothy Hutton, who plays a complex teenager trying to
shut himself off from emotional hurt. He does it without telegraphing every character contradiction,
as would a James Dean-like method actor. When Conrad reaches out to doctor Judd Hirsch, there's no phony
schtick, as in the god-awful and pandering Good Will Hunting of a few years back. Psych-counseling
hasn't yet been as effectively shown in a movie. Hutton's relationship with his standoffish classmates
(who include among them
a young Adam Baldwin , Animal Mother in Full Metal Jacket) is appropriately balanced, and his
attempt to connect with a possible girlfriend is as touching as Savant's own teenage memories. Teenage
boys who think they've connected emotionally with a Real Live Girl will indeed tell them things
they'd never tell anyone else.
The gloom and tension of the central story problem is kept in perfect perspective. When Hutton takes
McGovern to a McDonald's, he starts to open up his heart, only to have her attention stolen by the fun
of a bunch of rowdy boys who barge in. Reality is blatant and cruel, and your soul-wrenching problems
mean nothing to others living their own isolated lives ... Likewise, Moore and Sutherland's vacation
to Texas highlights a society that seeks to deny all complexity and consciously refuses to allow
untidy problems to officially exist. The most difficult stretch in the film is believing
the controlled Jarretts would allow their outburst to happen, so publicly, in front of friends
on the golf course - a place where all social reality is controlled. For the Moore character, the
marriage is over right then and there.
Psychological movies have tried to show the miracle of the psych cure, usually with dismal or laughable
results, but through a lot of give and take, we do see something of a credible turning point occur
for Timothy Hutton's character. He recognizes truths he hadn't before, and sees that though he's not cured,
things are not hopeless. Since his tragedy is compounded by the common disillusions of growing
up and reassessing relatives and reality anew (which happens about every three weeks, even to adults,
if they're paying attention), the harsh revelations that Hutton receives might have come without
some terrible accident to provoke them. Realists will hopefully conclude that marriages and families
require a constant effort to keep alive, instead of seeing them as doomed institutions whose true
rottenness is always revealed in time. The best thing that can be said about Ordinary People's
ending,(spoiler) with the 'survivors' reformed into a new relationship, is that it is neither an
apologia, nor a rationalization for chucking all relationships as worthlessly fragile. This is a
sober and thoughtful movie, and a pretty darn unique one.
Timothy Hutton got a deserved Oscar for Ordinary People, which has a poignant story of its own.
His father, Jim Hutton, was a much-loved actor who died soon before at a relatively young age, and
Timothy's acceptance speech was full of bittersweet regret for not being able to take the prize home
to dad. I believe the speech was real and not the usual Hollywood rubbish, because I had seen the
Hutton family from time to time, at a distance. While editing on the Producer's Studio rental lot,
we had 'Columbo' filming on the stage to our right, and Jim Hutton doing a tv show (a doctor show,
I think) on the other side. Many lunchtimes, we'd see Jim and his two young boys playing basketball
during a shooting break, right there in the studio alleys. I already had very positive feelings
about Hutton from his comedies, and I thought to myself that that must have been a family with
Paramount's DVD of Ordinary People is their usual quality package. The film has been given
a superior 16:9 transfer with clear sound; on a large monitor it looked very handsome, far better
than the rental vhs I saw when it was new, at the very beginning of home video. A brilliantly
constructed trailer is included as well.
On a scale of Excellent, Good, Fair, and Poor,
Ordinary People rates:
Packaging: Amaray case
Reviewed: August 26, 2001
8/28/01 - Review reply from 'B' (aka woggly):
Dear Glenn: I don't love this movie -- or even think very highly of it -- but I
liked your review. It makes me rethink
my attitude about the film, and I'm even considering watching it again.
I basically believe that this is the single most overrated American
movie of the past thirty years. "Blondie"
Redford has no original ideas about how to stage a scene, set up a shot
or begin to obtain an honest,
thoughtful performance from an actor -- and judging from his awful golf
fantasy of last year, he hasn't
learned anything yet. Perhaps he is essentially incapable of learning
anything new anymore. After all, his
appearance as "Mr. Death" in an early 'sixties TWILIGHT ZONE is superior
to all of his film performances.
I think that Alvin Sargent's unusually skillful adaptation of Judith
Guest's novel, John Bailey's Willis-like
camerawork and Marvin Hamlisch's canny use of Pachelbel propel the ideas
and emotions of the story;
after the tone is set, Don Sutherland's likable, inept Dad, Hutton's
tortured son, Judd Hirsch's 1
therapist and Mary Tyler's repressed harridan play "sensitive"
archetypes. It works for some people.
Tim Hutton tries hard, but he isn't really sufficiently skilled or
trained to play the character. However,
his studied earnestness and frequent stabs at sincerity make his
character work a little. 2
a wonderful actor, but I don't think even Sargent understands the father
or his problems, and Redford's
stolid direction has little patience nor desire to use screen time to
allow the actor to develop the guy
beyond a small degree. Moore is no less talented and experienced than
Sutherland, but she is playing
such a tiny, limited persona. An impatient, annoyed, EVIL maternal
figure. One -- maybe two -- notes.
I still can't quite believe the great acclaim she received for the role.
I truly believe that Redford cast
her as the mother for the same kind of reason Sergio Leone cast Henry
Fonda as the villainous Frank
in ONCE UPON A TIME IN THE WEST 3
-- "Jesus Christ! It's MARY!"
Ultimately, there is indeed a happy ending: the evil mother leaves.
Redford's direction ineptly places
all the unrest, discord and unpleasant behavior on her. She defines
everything that is wrong; after all,
Dad and son are both trying to learn how to deal with their feelings.
You can feel the genuine relief
and lifting of tension when she leaves: the cancer of the family has
been removed. Satan has left
What a waste of film stock.
(an addendum from 'B', a couple of days later:)
I think Sargent's adaptation of the Guest novel is really first-rate: it
sets EVERYTHING up with clarity
and disarming directness. This story floats dangerously in the
traditionally dismissed areas of "young
adult trauma" and "after school special." Guest, though a first-time
novelist, brought originality and a
"this happened; this is important" tone to her narrative; Sargent
But the movie is thisdeep. Seeing it a second time in 1980, I searched
for something -- anything --
that suggested that these characters or archetypes were even slightly
more than they glibly appeared
on screen. Still haven't seen it. Well, M. Emmet Walsh is good.
Elizabeth McGovern is even better,
though her subsequent career would follow an arc similar to that of Tim
Hutton's. Lest my comments
about Hutton seen cruel, I should point out that I saw him on Broadway
in the 'eighties in PRELUDE TO
A KISS and he was excellent.
Also, many criticize this movie because, well, it somehow won the Oscars
that RAGING BULL should
have won. I admire the Scorsese film, but I don't think either film
should have won the Oscar that
Best, Always. -- B.
1. Hirsch's performance is the weakest in the movie; to give Redford a
little credit, he did
try to get Gene Hackman to play the part. Incidentally, over the years,
repeatedly told me that they loathed Hirsch's performance and
surprises me. I may not like this movie, but I do believe that it does
in a fair and favorable light, and this depiction may have inspired or
aided people to decide
to seek this sort of help. Return
2. I've always sort of regretted that Hutton won the Oscar for this and
launched into a
career of starring roles in movies for a while. Not that I begrudge him
success or dough.
Rather, I think he has talent and a kind of interesting presence, and
his sudden career
boon may have actually de-railed or at least delayed his development as
an actor. More
training and stage work could have helped him better develop depth and
3. By the way, OUATITW was inadvertently omitted from the first tier of
Paramount pix" in my SULLIVAN'S TRAVELS message. Return
DVD Savant Text © Copyright 2007 Glenn Erickson
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