Faison), about the station’s history and of Jimmy’s unforgettable intimate relationship with a long-ago on-air personality known as the Sleepy Time Gal. In the course of the day, she learns from the general manager, Jimmy (Frankie R. The film’s most genial and fully felt scenes involve Rebecca’s trip to Daytona Beach, Fla., where she goes to facilitate a big corporate takeover of a small black radio station. That daughter, Rebecca (Martha Plimpton), is a high-powered lawyer who, experiencing a lack of family feeling in the wake of a romantic breakup, begins to contemplate tracking down her birth mother. Although the possibility of renewed passion is in the air, Frances instead bonds with Bob’s writer wife Betty (Peggy Gormley) and becomes preoccupied with thoughts of the daughter by Bob whom she gave up at birth. Still beautiful and deeply engaged in life, the San Francisco-based Frances is soon stricken with cancer, but a year later has recovered sufficiently to visit an old flame, Bob (Seymour Cassel), at his Pennsylvania farm. Frances is pushy, selfish as regards her own interests and terribly aware of time a-wasting, even though middle age has given her a certain reflective, even bemused perspective on her lifelong passions, which include the Revolutionary War, social issues and men. Location-hopping tale starts in 1982 in New York City, where 50ish writer Frances (Jacqueline Bisset) shows her son Morgan (Nick Stahl) the Washington Heights area where she grew up. It’s a strategy that intrigues and creates certain resonances but, like the women themselves, connects only indirectly. Of course, there are fresh ways of approaching even the most banal subject matter, and Munch navigates around the obvious cliches while constructing a dual-tracked drama based on echoes between the older and younger women’s lives. It's a bit of a depressing film in parts, but it's also refreshingly unsentimental, instead quietly poignant, and has an ending that mixes sadness and optimism in a way I wasn't expecting.Basic setup, which involves a mother dying of cancer and the search for her by the daughter she has never met, virtually defines cloying telefilm fodder. Finally, the photography is, at times, stunning, with beautiful location shooting in New York, Pennsylvania and Florida. The way memories are shown is very inventive, by use of black-and-white film sped up and blurred images, still photographs and paintings and camcorder footage. First of all, the acting is great - Jacqueline Bisset deservedly got lots of praise and is equalled (thankfully, otherwise the film could have fallen apart) in ability and scope by Martha Plimpton's performance.
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Don't get me wrong though, this isn't a film full of major surprises or twists it's more a film about honesty and emotion. However, this does actually (eventually) play to the films strengths, as we discover more things about the characters and previous scenes make more sense. Very little information is offered as to what the hell is going on, and I found myself a little 'sleepy' myself. The other problem is the first 20 minutes or so. Ok, maybe some people do speak like this, but in the context of the film it feels a little daft. At one point Rebecca says to someone she's recently met "I admire your pragmatism". Unfortunately, this yearning extends to the dialogue, and some of the characters have the most ridiculously over-articulate conversations, even if they're just talking about everyday things. This is a very lyrical film, striving for and often achieving a kind of cinematic poetry. The two characters stories link together in various ways as, separately, each remembers and learns more about their lives.įirstly, I should get some criticism out the way. Meanwhile, in a different city, Rebecca, unhappy with her job as a lawyer and split from her boyfriend, decides to seek out some questions to her own life, including finding her birth mother, and start afresh. Frances, a mother, former writer and DJ, and lover of architecture and history, discovers she has terminal cancer, and so aims to tie up the loose ends of her life and spend time with her son. Sleepy Time Gal is one of those brilliant films that could only be part of American indie cinema.
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