Search Movie Review Archives

Every once in a blue moon there comes a movie role that seems to have been tailor-made for a certain actor; Anthony Perkins as Norman Bates, for example. Nick Nolte as "The Good Thief's" con artist extraordinaire. James Stewart as the reawakened George Bailey. Add to this hall of memorable performances Paul Newman's turn as Sully, the central character of "Nobody's Fool," a small-town drama with a heart as big as all get-out. Playing sixty whilst nearing the age of seventy poses no problem for this grade-A talent, who finds himself right at home in the shoes of a man who's life has just taken a turn for the better (or the worse). His quiet existence in a small New York town gets a jumpstart when his estranged son Peter (Dylan Walsh) returns with his family for Thanksgiving, only to separate from his wife, leaving each of them with one of their two sons. Hoping to prevent Peter from making the same mistakes that he did as a husband and a father, Sully is quick to become a part of his son's life, and in the event making a few realizations of his own along the way. ***

Robert Benton's screenplay deals with innumerable subplots and characters, including everyone from Sully's spunky octagenarian landlady (Jessica Tandy, in her final film role), to his boss, Carl (Bruce Willis), who cheats on his lonely wife Toby (Melanie Griffith), in whom Sully finds a warm, soft spot of comfort. Any further attempts at describing the interaction and development of these characters seems almost impossible, if for no other reason than this is simply one of those movies you have to experience for yourself. Like the small-town setting in which we are placed, nothing really major happens throughout the movie, unless you count the life-affirming changes these people undergo throughout the course of the plot. And then, of course, there's Newman's performance, which is as brash and edgy as it is light-footed and tender. He makes what would otherwise be a mostly forgettable film something to remember and cherish; you'd be a fool not to pay a visit.

An excellent-looking transfer considering the movie's budget and some slight aging. The 1.85:1 anamorphic image exhibits a fine rendering of colors, with saturation levels that accurately capture the shades of the wintery town in which the characters dwell. Interior scenes are marked by wonderful fleshtones and nice, warm browns, while blacks are solid throughout, and contrast looks very good. Clarity holds up well, with sharp edges that feature an overall lack of halos, and the source print, aside from the presence of some film grain, is free of dirt and scratches. Very nice. ***

The Dolby Digital 5.1 audio track also earns marks for making use of its resources and sounding better than most others of a similar breed. Howard Shore's score has not forgotten about those essential surround channels, which add a nice sense of ambiance to the music while throwing in a couple of quiescent atmospheric effects now and then. The .1 LFE is pretty much absent throughout, but isn't needed, and dialogue sounds natural and remains centered throughout.