This is one of those films where the source material is much stronger than the screen production.
This version shows moments of high potential but the tension is felt only in thin, fleeting moments. The film begins closely following Anne and her departure from a sleepy, snowy New England village to the sloshy streets of New York. Somewhere in the middle we lose sight of Anne, follow Neely into ruthless stardom, and weave in and out of Tony and Jennifer's relationship and decline. The dolls are a prop until their name is first mention and we see that the Neely is hooked. When we reach her breakdown in the alley (Gone. Neely. Neely O'Hara!), the emotional closeness is much too late and fizzes into nothing during the next scene. 'Oh, Anne redeems herself!' Then, roll credits.
Wait, who's perspective are we following here?
This version shows moments of high potential but the tension is felt only in thin, fleeting moments. The film begins closely following Anne and her departure from a sleepy, snowy New England village to the sloshy streets of New York. Somewhere in the middle we lose sight of Anne, follow Neely into ruthless stardom, and weave in and out of Tony and Jennifer's relationship and decline. The dolls are a prop until their name is first mention and we see that the Neely is hooked. When we reach her breakdown in the alley (Gone. Neely. Neely O'Hara!), the emotional closeness is much too late and fizzes into nothing during the next scene. 'Oh, Anne redeems herself!' Then, roll credits.
Wait, who's perspective are we following here?