Always is a landmark film in Steven Spielberg's canon for more than one reason. It would be the first time Spielberg would adapt someone else's work, and also it would see Spielberg caught in transition between bidding farewell to childhood memories and a crowd pleasing necessity. In fact it is not too bold to say that without Always, Spielberg could not have progressed into the superlative director he most assuredly is. Often wrongly thought of as a Spielberg flop, it actually grossed $74,134,790 worldwide, that's three times what it cost to make. Always is awash with sentimentality, the kind that Spielberg detractors use to constantly berate the director as being his safe haven calling card, yet it's an oddly tender movie about loss, love and the need to move on from former yearnings. Working from the excellent original source by Dalton Trumbo called A Guy Named Joe, Spielberg crafts his tale with deftly visual flourishes aiding the sweet nature of the piece, none more so than when Audrey Hepburn arrives {in her last film appearance} as Pete's angel guide, Hap.
Richard Dreyfuss takes the lead role of Pete Sandwich, with both he and Spielberg sharing a passion for A Guy Named Joe. So much so that Spielberg honoured a promise to Dreyfuss back in the Jaws days that he would cast him should he ever remake the film. Holly Hunter takes on the pivotal female lead of Dorinda and does brilliant work, all doe eyed beauty fusing with tight emotion that has the discerning viewer eating out of her hands. John Goodman is suitably ebullient as Al Yackey, with Spielberg framing him rather well in certain scenic sequences, while the only weak link in the film is probably Brad Johnson as Ted Baker, but time has been kind to his performance and it doesn't quite jar as much as it used too. The critics hated it on release and the watching public were most indifferent to it as well. Yet it's definitely one to revisit as we all get older, be it with a loved one or during times of reflection. You obviously can't get away from the sentimental aspects of it, but sometimes sentiment is a necessity to smooth out those rough edges. Charming, delightful and a real important film in Steven Spielberg's career. 7/10
Richard Dreyfuss takes the lead role of Pete Sandwich, with both he and Spielberg sharing a passion for A Guy Named Joe. So much so that Spielberg honoured a promise to Dreyfuss back in the Jaws days that he would cast him should he ever remake the film. Holly Hunter takes on the pivotal female lead of Dorinda and does brilliant work, all doe eyed beauty fusing with tight emotion that has the discerning viewer eating out of her hands. John Goodman is suitably ebullient as Al Yackey, with Spielberg framing him rather well in certain scenic sequences, while the only weak link in the film is probably Brad Johnson as Ted Baker, but time has been kind to his performance and it doesn't quite jar as much as it used too. The critics hated it on release and the watching public were most indifferent to it as well. Yet it's definitely one to revisit as we all get older, be it with a loved one or during times of reflection. You obviously can't get away from the sentimental aspects of it, but sometimes sentiment is a necessity to smooth out those rough edges. Charming, delightful and a real important film in Steven Spielberg's career. 7/10