We took a picture at the beach

 

Beaches (1988)

The friendship between C.C. Bloom (Bette Midler) and Hilary Whitney (Barbara Hershey) survives cultural differences, social inequalities, petty jealousies, torrid affairs, bitter fights, and death.

Midler’s public persona is so similar to C.C., the movie feels like a parody. “Wind Beneath my Wings,” was such a massive hit, it’s difficult to remember she had a career before this movie.

The song has become a touchstone, but it’s a little narcissistic.  “It must have been cold there, in my shadow.” Translation: I never said you were great, but take solace in knowing you helped make me great.

In the 1980s, Barbara Hershey’s career skyrocketed with roles in The Stunt Man (1980), The Right Stuff (1983), The Natural (1984), Hannah and Her Sisters (1986), Hoosiers (1986), and The Last Temptation of Christ (1988).  However in this film, she doesn’t add anything. Hilary is just passively watching the tempest of C.C.

John Heard will always be fondly remembered as the dad in the Home Alone movies, and the killjoy toy company executive in Big (1988), and he shows a lot of range as John Pierce, the man torn between love for both women. Sadly, he never seemed to utilize his talent and now takes whatever work he can get.

Spalding Gray, who plays Hilary’s husband, Dr. Richard Milstein is perfectly cast as a stiff, upper crust blowhard.

Mayim Bialik, soon to become famous as the titular Blossom, is full of infectious energy as 11-year-old C.C. and easily the highlight of the film.  I would have preferred to see a movie based about the adventures of younger C.C. and Hilary.

After creating The Odd Couple and Happy Days Garry Marshall specialized in safe, nonthreatening melodramatic comedies with the notable exception of Exit to Eden (1994), a heist comedy starring Dan Aykroyd and Rosie O’Donnell set on a BDSM vacation getaway.

The origin story of Hilary and C.C.’s friendship was mesmerizing.  Unfortunately, the rest of the film couldn’t keep up the frantic energy and devolved into a predictable soap opera.

 

 

The Missing Picture (2013)

This film uses a mixture of archival footage and claymation reenactments to dramatize Pol Pot’s rise to power in Cambodia.

As time marches, these events fade and recede into the forgotten crevices of history.   We have vague impressions, but the details are fuzzy and the importance unclear. Films like this help cement the historical record.

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