Opening Night
あらすじ
No synopsis available.
予告・トレイラー
作品考察・見どころ
AIが作品の魅力を深く読み解いています
No synopsis available.
AIが作品の魅力を深く読み解いています
Isn’t it curious that so many of us start and end our lives dependant on a bottle? “Myrtle” (Gena Rowlands) is one such creature. She’s an acclaimed actress who cannot function without her quota of Scotch. This hasn’t, as yet, impaired her ability or her popularity as she is about to take her next play to Broadway. Leaving rehearsals one evening in a heavy thunderstorm, her limo tragically collides with an adoring fan and for a while the guilt-ridden “Myrtle” keeps seeing “Nancy” (Laura Johnson) as if she were standing next to her, goading and provoking her. Her friend and mentor “Sarah” (Joan Blondell) is determined to try to help so suggests a spiritualist, but with their star becoming more and more flaky, producer “Manny” (Ben Gazzara) and her leading man (and ex) “Maurice” (John Cassavetes) - who both don't have their problems to seek either, begin to wonder if she has what it takes to get a grip and play a part for which she has little love in the first place. I can’t think why Rowlands didn’t get better recognition for her part here. Her efforts as the part thespian, part alcoholic, part comedienne, temptress, charmer and flawed individual is really quite visceral at times - especially in the last half hour. Although none of the other roles can hold a candle to her’s, Gazzara also delivers strongly as he juggles his plates and Blondell adds a degree of characterful richness too, even though she appears sparingly. Now the story is a bit of a mess at times. I didn’t always quite follow what was going on, or why, and perhaps that could have been helped had the film been tightened up a little. Half an hour could go missing here and I don’t think anyone would miss out much on the toxicity front. That toxicity does emanate a little from the booze, but there are also aspects of the plot that deal with ageing - and with one’s reconciliation to that often unwelcome process, and with the whole concept of total strangers offering the kind of adulation that she certainly doesn’t get closer to home. It takes a swing at the theatrical industry, but not cavalierly nor cruelly - it just illustrates just how when you live your life for ever being someone else, well what’s left in the mirror afterwards isn’t always so recognisable. It’s a film to be watched without distractions, so if you have a couple of hours to sit and watch the pros working at being the pros then here is sometime harrowing, sometimes hair raising and sometimes humorous - and definitely worth a watch.
