Love at Large (1990) Poster

(1990)

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7/10
Hard to find but worth the trouble
DrCarol7 November 1999
After reading the reviews, I expected "Love at Large" to be an almost surreal experiment in film noir, heavy on atmosphere and short on plot. It's true that the cars and some of the costumes don't seem to fit the early 1990s setting--Doris's green, full-skirted dress, complete with eight inches of yellow crinoline, is straight out of the 1950s, and the Blue Danube nightclub seems to belong to an even earlier era (pre-World War II). The vampy Miss Dolan exudes a 1940s glamour and mystery, the kind of woman who never existed outside of male fantasies. But much of the action (or conversation) takes place in realistic settings--upper-middle-class suburban houses, airplanes, airports, a ranch in what appears to be Wyoming or Montana.

More to the point, the subplot surrounding the bigamist Frederick King/James McGraw (Ted Levine) is not merely "thrown in," as some critics have suggested. Mistaken identity is a classic comedic device going back at least 2000 years to the New Comedy of Menander in ancient Greece, and it still works. It also adds suspense; both Harry (Tom Berenger) and Stella (Elizabeth Perkins) believe McGraw/King to be Miss Dolan's "charming but dangerous" lover, Rick, and are consequently oblivious to whatever danger the real Rick may present.

The Levine subplot also provides opportunities for variations on the love theme so blatantly emphasized by Stella's omnipresent "Love Manual." Compared with most movies of the 1980s and 90s, this one has relatively little sex but lots of kissing. (Ted Levine gets to kiss two women, unusual for him, but this film predates "Silence of the Lambs," in which his powerful performance as Jame Gumb stereotyped him as a murderer.) There are some genuinely tender moments and a lot of surprises, some of them comic and most of them in some way related either to love or mistaken identity.

The casting is excellent. Both Berenger (despite his gravelly voice) and Perkins are likeable and believable, and Levine is marvelous as a man with two lives and two personalities. (No, he's not schizophrenic; he just likes to go out on a limb because, as he tells Stella, "that's where the fruit is").

To say more would be to spoil the film. Find it and watch it. It will be well worth the trouble of hunting it down.
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7/10
Decent low-key comedy.
smatysia22 June 2004
I saw this film referred to as a comedy, but I hadn't remembered it as such when I first saw it some years ago. I suppose that it is, but it is funny in a wry sort of way, never a laugh out loud way. I don't know where Tom Berenger got that gravelly voice for this movie, but it seems to fit the part okay. Elizabeth Perkins was lovely and good as an angst-filled gal trying to be a private I. It was interesting to see Neil Young in a small acting role. He did OK. It makes me wonder how hard acting really is. Anne Archer was so totally gorgeous, I almost didn't realize how ridiculous her character was. This ended up being a pretty enjoyable film, if you don't go into it with unrealistic expectations. Grade: B
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6/10
Good
pocomarc9 November 2007
Warning: Spoilers
Enjoyable movie.

It is a tongue in cheek detective story.

Berenger uses a phony, gravelly voice and is a mess as a detective: He trails the wrong man for the entire movie.

When he stands up at the nightclub he hits his head on the lamp hanging over the table--twice.

He does ridiculous things in his supposed detective work, one after another.

This is a good natured film and an obvious spoof.

The funny things is--it works.

It is entertaining and funny in its silliness.

I have seen many far worse movies.

I would not have known that Berenger had this level of talent for comedy.
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This "Love" Scores Large
zeus-24 March 1999
This is a love story in the format of a comedy. Or, more appropriately, a love quest story. Like the Detective saga it parodies, the characters are on a search for absolution. But in Rudolph's screwball world where, for instance, every car is at least 20 years old and carries the model name "classic", all of this light madness works toward one, central theme: love is almost impossible to find, but, oh, so much fun to search for.

All the characters that are in long-term relationships are either breaking up, cheating on each other, or completely self-deluded. The other characters are in perpetual seek mode, from Miss Dolan who flirts and swoons wherever her whimsical heart takes her, to Stella, who studies "The Love Manual" and bitterly says things like, "the one who is in love always waits. It's the lover's signature."

Ultimately, this makes for light, entertaining fare. There aren't many bellylaughs, but there is a continual glow and a delightful, endearing glee about the film. Director Rudolph's cinematic sense is so keen that everything seems larger than it is, and more meaningful.
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5/10
aimless, but enjoyable
mjneu593 December 2010
Alan Rudolph's soft-boiled, shaggy-dog detective parody stars Tom Berenger as a dim-witted private eye hired by torch singer Anne Archer to follow her boyfriend. He begins by tailing the wrong man, and soon finds himself pursued (again, by accident) by amateur gumshoe Elizabeth Perkins. The escalating complications lead nowhere in particular, but if quirkiness were a virtue Rudolph would be a saint, and his story takes some interesting detours on its way to a dead end conclusion. All the romantic whimsy and offbeat characters can't hide the brick wall Rudolph hits when trying to define the Meaning of Love, but on a strictly superficial level the film can be enjoyed as an elegant, empty caricature, with odd touches of retro-noir detail (Annette O'Toole, for example, dolled up as a Veronica Lake facsimile). Look for Gary Larson of The Far Side comic fame, playing guitar in the nightclub band.
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5/10
If you like being disappointed
bsuncana23 September 2018
Warning: Spoilers
So this movie starts with some quality atmosphere. A Leonard Cohen song. A private detective and a beautiful, yet mysterious woman sit in a fancy restaurant. The woman looks like a porn version of Isabella Rossellini in Blue Velvet. She flirts for fun or necessity and is out of his league by far. The woman is in love with an unknown man, a dangerous man. But she's not sure if she's the only woman in his life. So she hires the aforementioned private detective. However, it seems that this beautiful woman isn't very bright and refuses to give him anything but vague information about the man.

Of course, he starts following the wrong man. He is following Captain Stottlemeyer from Monk instead of Neil Young who decided to swap his style with Jim Jarmusch for this occasion.

Now the game begins. While our detective is following the wrong man, he is followed by another detective, Stella (who confusingly looks like a boring version of the mysterious woman), hired by his "it's complicated" girlfriend. And to top it all, there's also some hit-man looking dude watching them menacingly from afar.

This part is really boring. Our detective finds out that the wrong guy he's following leads a double life. He has two wives, two kids and is basically living the lives of the Town Mouse and the Country Mouse respectively. The detective proceeds to tell Ms Dolan (the woman who hired him) all the spicy details on the wrong guy and apparently she doesn't know anything about the person she's so in love with that an image of her anime silver fox Neil Young leading a farmer's life doesn't seem suspicious at all.

Upon learning "truth" about her dear beloved 40 year old emo Neil Young, Ms Dolan wastes no time as she passionately falls in love with the detective, who promises to protect her. However, that doesn't happen as she suddenly disappears (that menacing hit-man dude finally played his long awaited role in the movie).

Now this is the part of the movie when you're sitting there thinking what the hell. Where is Neil Young already, who is the hit-man person, why do we know an excessive amount of detail about the guy that wasn't even supposed to be followed, when is this going to end and how can they save this mess? But they don't. They don't save the mess. Instead there's a sudden love story between Stella and the detective, and something like an 8 minute scene of him trying to talk her into having sex with him, which is, by the way, kind of creepy. They become partners in solving this mystery, but they *still* don't know that Mr Double Life isn't Ms Dolan's man. Their incompetent poking around this man's life causes it to shatter, and we see Stella driving his country wife somewhere, but of course that part of the plot is just forgotten later and never mentioned again.

Suddenly, just as we start forgetting about what was supposed to be the main plot of the movie (not because of director's artistic tendencies, but because it is really boring), the detective guy runs into Ms Dolan holding hands with her actual man. He finally (god bless) realizes that he's been following the wrong person. BUT poor Ms Dolan doesn't know what's in store for her. Neil Young has a completely unexplained plan to murder her, while his bodyguard is still staring menacingly downstairs. She is saved by the detective, Neil Young is left hanging from the balcony, he lets her romantic fantasies about him down, she catches a train and leaves the city, he finally has sex with Stella. The End.

To sum it all up, I wasn't really satisfied with this movie. I only gave it 5 stars because I was down with flu and the other movies that I watched that day were even worse (Autumn In New York, for example). It seemed like the director had a fun idea, a bit of noir, a bit of comedy and mystery, but in the end everything ended up being unfinished, unexplained or completely illogical. Some characters were painfully 2-dimensional, a lot of screen time went to character arcs and plots that were never finished (country wife and her lover, Neil Young and his plan to kill Ms Dolan, detective's girlfriend, to name just few) so I was left watching credits roll, feeling very disappointed. It would be an overstatement to say that the disappointment came from caring about the characters, because I only wished the worst to happen to all of them, but after spending 97 minutes (that felt like 297 minutes, let's blame it on the flu) I wanted to get some feeling of closure, at least.
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8/10
Poking Fun At Film Noir
ccthemovieman-116 May 2006
If you're a fan of film noir, you should like this 1990 takeoff of those 1940s films with Anne Archer as an exaggerated femme-fatale in distress and private detective Tom Berenger paid to spy on her husband.

It turns out to be a comedy, however, as Berenger tails the wrong guy but finds things interesting as they are. Then Berenger's girlfriend gets nervous and hires a female detective (Elizabeth Perkins) to spy on him, so everyone is watching everyone!

Although there isn't a lot of action, the film never drags and is a good combination of suspense, humor and drama/action. Also nice is the soundtrack, a "Midnight Run" sound with good blues guitar and trumpet plus a Leonard Cohen song to start the film. Good colors add to everything.

On the negative side, I didn't care for the ending regarding Archer, nor understand why she did what she did. Also, everyone in the film is a bit too sleazy. The other fault likes not in the movie but in the DVD which had a very weak transfer. Overall, fun for a couple of looks.
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8/10
Not well-known (or liked) but I loved it!
preppy-37 April 2007
I was one of the (very) few people who saw this in a movie theatre back in 1990. It was a small audience but everybody enjoyed it and I thought this would be a big hit. For some reason though this faded quickly.

Detective Harry Dobbs (Tom Berenger) takes on a case for Miss Dolan (Anne Archer) to track her boyfriend. What Dobbs doesn't know is that he himself is being tracked by female detective Stella Wyntowski (Elizabeth Perkins). They end up meeting and set out to solve a mystery.

Sounds strange...and it is but it's lots of fun too. The movie is always switching tone from romance to comedy to drama yet it always manages to stay coherent and entertaining. There's director Rudolph's excellent use of color and music and a script which goes whipping every which way.

The cast is up to it. Berenger (purposefully?) adopts a gravelly voice and dresses like he just stepped out of a film noir. He perfectly plays the drama and comedy nicely. Perkins has a very difficult role but she grabs it and runs with it. Only Archer is a disappointment--REALLY overplaying her part. Kate Capshaw and Annette O'Toole shine in minor roles.

This is not a easy movie to categorize or explain--you've just got to watch it. It's sort of like a film noir with comedy, style and color...but it's also a romance with a mystery thrown in...OR a comedy with some dramatic moments. It goes all over the map. Beautifully done and well worth seeing.
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Floundering Stab at Something
dougdoepke9 July 2016
If you like slow-moving, aimless films, you'll probably like this exercise in murky self-indulgence by writer-director Rudolph. I guess I missed the amusing parts that others seem to find. Mostly I was just bored once I realized the story-- if you want to call it that-- was going nowhere. And what's with Berenger's phony voice that only distracts. Sounds like he could use a good gargle. Of course, noir has been parodied before, and truth be told, it's an easy genre to mock. But this has to be the dimmest of the efforts, if parody is in fact what it is. To me the results aren't interesting enough to care. I guess that's one reason the film flopped at the box-office and has since fallen into well-deserved obscurity. And, oh yes, for those who find profundity in the supposed subtexts, I'll leave that to the Midnight Study Group. Good luck.
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8/10
Enjoyable oddball 1980s Film Noir
a_chinn31 July 2022
This film go largely poor reviews, but for whatever reason the films of director Alan Rudolph always get me. A lot of his films seem to exist in their own universe. The noir elements of this film and "Trouble in Mind" feel quite similar, but even his films like "Mrs. Parker and the Vicious Circle" or "Choose Me" seem to exist on their own plane of reality. Tom Berenger plays a hard-boiled private investigator hired by Anna Archer to tail her shady boyfriend, which leads to a Raymond Chandler-esque serpentine mystery. Add in a competing P. I. in the form of equally tough-as-nails Elizabeth Perkins and you have an interesting love triangle of sorts between the three leads. What makes "Love at Large" memorable is writer/director Alan Rudolph and the unique style he brought to an oddball series of films he made in the 80s and early 90s, which seemed to exist somewhat out of time ("Trouble in Mind" "The Moderns" "Mrs. Parks and the Vicious Circle" and this film). These films were throwbacks to another time, but incorporated 80s/90s pastels and neon color palettes, along with modern sensibilities to the characters and situations. Composer Mark Isham's score also nicely balances a score that feels period yet also contemporary. Although the "Love at Large" meanders and is slow at times, the cast, which also includes Ted Levine, Kate Capshaw, Ruby Dee, Kevin J. O'Connor, Annette O'Toole, Anne Magnuson, and Neil Young, and Rudolph's visual style make the film well worth watching for fans of old school noir and 80's indie flicks. FUN FACT! "Love at Large" was filmed primarily in Portland, Oregon.
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9/10
Is it Noir, Comedy, or Love story? Why yes it is. Then again . . .
bon-677-3185642 November 2014
First off, let me say I love this film. It might seem odd for a normal man of 30, when this film came out. But then, I like musicals, as well.

From reading the comments here and elsewhere, people seemed nonplussed as to how to categorized this film. What clued me in was the confusion it caused everybody.

This movie really is a mystery.

But the mystery isn't in the plot. It doesn't keep you guessing. Or the characters; they're played pretty straightforward. It's the genre. Every time you get comfortable with how it's being played, Rudolph switches it up.

Is it a film noir? Is it a comedy? Is it a love story? Uh, yes.

But that's the beauty of this film.

It keeps you guessing as to what it is.

And Rudolph would have been having a laugh for the past quarter century if more people could see this film for the brilliance it is.

Actually, if more people had seen it.

But now, he's waited so long for people to get it, that well . . .
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