Word: miscasts
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...director. Reynolds does little to help. By casting stars (among them Sally Field and Joanne Woodward) as Sonny's loved ones, he makes the film look like a series of set pieces. There is no structure and no pacing. More awkward still. Reynolds has miscast himself. Sonny seems to be a Jewish neurotic, but Reynolds' many talents do not include an ability to impersonate Woody Allen...
Finally, earnest Richard Thomas is badly miscast, since his salient quality is intelligence. You just cannot accept John Boy of The Waltons as a media-maddened lunatic. Just by being himself, he further forces Director Bridges, with his flat, unaccented style, from the only possible attitude one could take to this story, which is comic, or at least profoundly ironic...
Croce wears her knowledge easily, but it comes from time lavished in the theater with the prodigality of a monk in his chapel. Critical scale in dance can be acquired only by watching every possible performance-every last Giselle, however badly miscast, any tentative choreographer who can get a pickup company together for a few evenings in a church basement. Years of such observation inform Croce's asides about dancers. Of Suzanne Farrell's second performance in Bournonville Divertissements, she writes: "She was less noticeably nervous (she'd stopped bouncing her wrists, an infallible sign)." Of Edward...
...took a Ph.D. in comparative literature at Harvard. After contributing to a number of publications, Simon became New York's drama critic in 1969 and switched to film reviews in 1975. Simon's movie reviewing for other publications had been first-rate, but the scholar seemed miscast in that role for New York, wasting himself on recondite rhapsodies for slick-but-shallow entertainments like The Spy Who Loved Me, until New York mercifully put him back on the theater beat in September...
...other hand, Stephen Toope is badly miscast as Eilert Lovborg. Ibsen clearly intended to represent Lovborg as a figure of undisciplined genius, a man whose capacity for passion, even if manifested in debauchery, contrasts alluringly with Tesman's effete conventionality. Yet in this performance Hedda displays no more respect for Lovborg than for anyone else, a major misinterpretation but understandable in view of Toope's characterization. His Lovborg is weak, sulky, and scarcely more worthy of Hedda's interest than Tesman. His only intensity comes in response to Hedda's baiting, and he conveys it as a kind of impotent...