There is probably a very good reason that this film is not as well remembered among Glenn Close's early films as much as it should be. She provides an interest in characterization in her very first official leading role but what seems to be truly promising for her as a major romantic comedy quickly dissipates thanks to changes in the script in the second half. As the secretary to San Francisco Bishop Barnard Hughes and wife to library executive Mandy Patinkin, Close is a hard-working and loving wife but rather staid in her personality and passion. Enter Maxie, the spirit of a dead flapper who once resided in their apartment, memories conjured up by wacky landlady Ruth Gordon who knew the promising movie star who died all of a sudden during the silent era of Hollywood. Maxie's persona threatens to come between Close's loyal wife and husband Patinkan, especially when Maxie, in Close's body, all of a sudden gets the opportunity to fulfill her dream and become a movie star.
Had this focus on the romantic issues between Close and Patinkan and how the spirit of Maxie comes between them rather than twist itself with the Hollywood aspect of the story, it could have been so much better. The irony close playing a silent star is not lost on her future iconic Broadway role as Norma Desmond in the musical version of "Sunset Boulevard". Close does get to sing a wonderful version of "Bye Bye Blackbird" but her chemistry with Patinkan isn't really all that strong. The most touching moment comes when Gordon realizes that her old pal Maxie has taken over Close's body, with truly profound music overscoring for Gordon in one of her final film roles.
The 1980's had a very unique style in its filmmaking that today probably wouldn't make it past cable TV. There is an innocence about it that remains sweet, and the beautifully bouncy saxophone score by George Delarue will have you smiling from the very start. A great use of San Francisco locations also puts a stamp on a film that doesn't really deserve but one that had the potential to be so much better. In spite of that, it's impossible not to be charmed by the innocence of these comedies that have seem to be stopped being made long ago.
Had this focus on the romantic issues between Close and Patinkan and how the spirit of Maxie comes between them rather than twist itself with the Hollywood aspect of the story, it could have been so much better. The irony close playing a silent star is not lost on her future iconic Broadway role as Norma Desmond in the musical version of "Sunset Boulevard". Close does get to sing a wonderful version of "Bye Bye Blackbird" but her chemistry with Patinkan isn't really all that strong. The most touching moment comes when Gordon realizes that her old pal Maxie has taken over Close's body, with truly profound music overscoring for Gordon in one of her final film roles.
The 1980's had a very unique style in its filmmaking that today probably wouldn't make it past cable TV. There is an innocence about it that remains sweet, and the beautifully bouncy saxophone score by George Delarue will have you smiling from the very start. A great use of San Francisco locations also puts a stamp on a film that doesn't really deserve but one that had the potential to be so much better. In spite of that, it's impossible not to be charmed by the innocence of these comedies that have seem to be stopped being made long ago.