Word: carlino
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...plot with "formula" written all over it, yet director Lewis Carlino successfully works Class into an enjoyable and believable two hours. Much of the credit goes to the actors, who, despite some painfully stagy lapses, sustain comic realism throughout. Except for Bisset (whose education of Jonathan is so captivating that you never wonder why she's lavishing it on a 19-year-old) the adult characters are largely unconvincing stereotypes, but the academy inmates are almost all outstanding. Lowe, fresh off the set of The Outsiders, and film-newcomer McCarthy work well as Vernon's dynamic duo, constructing a close...
...division that works to enhance both elements of the film. The tension between his boyish high school existence and his mature sexual involvement focuses Jonathan to reconcile his two halves; eventually he becomes both more adult among friends and more lighthearted with Skip's mother, Ellen. But because Carlino does not indulge in psychology sleight of hand, making Jonathan's emotional maturation too rapid-fire, he never presents the relationship between the boy and his best friend's mother as more than it could credibly be. Once Jonathan discovers Ellen is in fact Ellen Burroughs, his loyalties fall resoundingly...
John Lewis Carlino's script contains some bold dialogue, bordering on the risque in the love scenes. When Cal gets horny, he says to Edna--I got this big problem, I think you better lay your hands...
...Carlino considers the movie an expression of the healing power of the love of human beings for one another. He stresses the human level and tries to bring the movie down to earth, so to speak. While the movie offers a hope of an afterlife, then, its message concerns life, in which, to paraphrase Schopenhauer, every illness gives a foretaste of death, every getting better again a foretaste of the resurrection...
Like its characters, Resurrection is a sympathetic but irreconcilable olio of extremes. The film swerves between irony and sentimentality, human drama and melodrama, powerful acting and shameless hammery-sometimes in the same sequence or shot. Screenwriter Carlino and Director Petrie have previously worked in the genres of sci-fi schizophrenia (Seconds and Sybil) and domestic conflict (The Great Santini and Eleanor and Franklin). Here, they have tried to blend the two forms, but the film does not always gel. The problem may stem from a lack of faith in its "small," challenging story. When in doubt, Carlino inserts a violent...