My alternative canon #4: One From the Heart
Note: I’ve often discussed my favorite movies on this blog, but I also love films that are relatively overlooked or unappreciated. Over the next week and a half, I’ll be looking at some of the neglected gems, problem pictures, and flawed masterpieces that have shaped my inner life, and which might have become part of the standard cinematic canon if the circumstances had been just a little bit different. You can read the previous installments here.
Your feelings toward a movie can evolve over time, as in any other kind of romance. Occasionally, you can be persuaded to fall halfway in love with a film before you’ve even watched it, with a critic or an enthusiastic friend serving as the equivalent of a matchmaker, and that initial glow can blind you to even the most glaring of faults. Sooner or later, though, you start to see it more clearly, and you realize that it wasn’t meant to be—even if you’ll never forget how it once made you feel. One From the Heart, which in itself is a story about the ups and downs of a longtime relationship, is that kind of movie for me. I doubt if many viewers still seek it out these days, but for a few years in the early eighties, it was one of the biggest stories in Hollywood. Francis Ford Coppola, coming off the hell and unlikely vindication of Apocalypse Now, had envisioned a new kind of movie studio, in which artists of all backgrounds could come together in a process of ongoing collaboration: it would be part theater troupe, part circus, part laboratory for audacious experiments. The test case would be a modest screenplay by Armyan Bernstein about a bored couple, Hank and Frannie, who take other lovers for a single night, then drift back together again. It’s a trifle of a story even by the standards of romantic comedy, but something in it seized Coppola’s imagination: he decided to set it in Las Vegas, which would give him an excuse to build gigantic sets at the Zoetrope Studios, and to test his new technology for computer-assisted review and editing. (Or, as an industry wisecrack quoted by Roger Ebert put it: “[Coppola] took an $8 million project and used the latest advances in video to bring it in for $23 million.”)
In other words, it was just the kind of doomed, lunatic project that excites me as a moviegoer, and it was even a musical, too. Not surprisingly, after my first viewing, I was convinced that I loved it. Over time, the flush of enthusiasm faded: the plot is so inconsequential that it seems to evaporate as you watch it, and most of the visual and aural delights on display never quite land as intended. (The one exception is the soundtrack by Tom Waits and Crystal Gayle, which I still think is one of the greatest ever recorded. It deserves to be part of everyone’s musical life.) But I can’t quite forget it, either. I was first turned onto it by a pair of reviews by Sheila Benson of the Los Angeles Times, the first of which was a rave, the second—written a decade later—a mediation on her own disillusionment. In retrospect, they anticipate my own experience with One From the Heart with eerie accuracy. When Benson first saw it, she thought it was “enchanting,” but a return visit brought her to her senses: “But ah, my foes, and oh my friends, the stuff that sticks the marvelous bits together now seems, frankly, strained beyond the most passionate loyalty.” That’s pretty much how I feel about it today, too, even if its immaculate opening credits and gorgeous title song still fill me with a wistful sense of what might have been. Few other movies have left such an incongruous dual legacy: it’s both a lightweight, frothy confection and the film that derailed the career of the most promising American director since Orson Welles. But it’s still worth seeking out. As Benson concludes: “Who knows, it may become the love of your life.”