White Palace (1990)

Glenn Savan's depressing and self-loathing novel about a 27-year-old upper-class Jewish widower mired in self-pity after his beloved wife dies, and who finds love and sexual rebirth with a trailer-trash older woman, was brought to the big screen by the competent director Luis Mandoki (When a Man Loves a Woman, Message in a Bottle). But the savage irony in Savan's book has been face-lifted by screenwriters Ted Tally (The Silence of the Lambs) and Alvin Sargent (Ordinary People) into something else entirely: what passes for low-rent "slumming" in Hollywood means hiring sexy Susan Sarandon to play Nora Baker, the poor, uneducated 43-year-old waitress in a White Palace burger joint who strikes up an unlikely relationship with sad Max Baron (James Spader). Widower Max attends a bachelor party for best pal Neil (Jason Alexander) and discovers that the local White Palace has stiffed the boys a whopping six burgers. Max barges into the joint, bent on getting his money back, and meets a testy Nora, who is bemused at the young man's insolence. While driving home, Max stops abruptly at a bar for a drink. Inside, Nora is nursing a vodka and takes a shine to the tuxedo-clad, handsome, and morose younger man. He gives her a lift, she seduces him, and the rest of the movie examines how two such opposites in manners and morals can find happiness. The only common bond they have is great sex and a private tragedy. White Palace nudges at the dark journey and the smashing of illusion that was at the heart of the novel, but there is still a fairy-tale element to the film that negates the earthy essence that distinguished the book. In Mandoki's vision, White Palace is about overcoming class, family, and outside opinion to find true love. In Savan's book, Max wastes into decline while Nora ultimately thrives in the quest for truth, redemption, and self-forgiveness. She becomes his salvation only after he stops hating himself. But mainstream Hollywood shuns making "protagonists" so mad, bad, or sad, and as such, too much glitter is tossed on Spader, while Sarandon, as usual, is the only one who seems to embody and understand her character's angst. She deserved her Oscar for Nora, not the nun in Dead Man Walking. --Paula Nechak Amazon.com essential video

Romantic character study

I can think of hundreds of reasons why I like this film, but most of all I simply enjoy it. Couple bones with some other reviews, though. First of all, Jason Alexander has a comfortable, charismatic presence in this movie just as he has in every other vehicle he's been in, from Pretty Woman to Seinfeld. Secondly, I guess I'm one of the few people to conclude that DVDs are ultimately better with NO SPECIAL FEATURES whatsoever. Nothing seems to detract from, denude or uncharm a movie more than vanity projects like director's commentaries or promotional featurettes (and everything else under the sun). After the overkill that was Lord of the Rings, I've simply had it. So I'm quite thankful for this packaging, and as you see, it thus comes with a great low price. Finally, though, I'm not that crazy about the restaurant scene--it's a little too much. It could have worked better. But up to that point, it's all hook, line and sinker. There's no dust in her dustbuster, yes. But actually, if it were me and my woman acted up like Nora on Thanksgiving, I'd let the relationship go and seriously consider dating Heidi Solomon. I mean come on, she is ALL that. What was he thinking. Anyway, it's a great film by Luis Mandoki (director) and Sydney Pollack (executive producer), who has now passed. Thanks buddy. December 5, 2008

MISPLACED INDIGNATION, NOT AN OSCAR TICKET

I'm usually amused by movies with Spader in them, not that his character changes much from movie to movie, but then why change a good thing? Likewise for Susan Sarandon who's good as well, though I definitely don't agree with the Amazon reviewer who calls this Oscar material. Or I don't know - maybe this is what the Oscars are all about ... which isn't saying much for the Oscars. This woman had no social graces at all! First she backs old James into a corner over bringing her to Thanksgiving dinner, and then when he finally does, she manages to insult everyone at the dinner - and we're supposed to sympathize with her? She was just rude. And while the party goers WERE rich and somewhat trite, no one was actually rude to her (except his mother - but this seemed to be her personality with everyone). So for all the righteous indignation speeches made by Sarandon's character in other people's homes: A. I didn't beleive it, and B. it seemed misplaced. Or I should say, I didn't beleive it because it seemed misplaced. This is supposed to be the result of her inferiority complex for being a fast food worker and 15 years too old for James. Still, the family should have scorned her more or really looked down on her so that her working class indignation could have seemed more warranted - as it was, I didn't buy it. No one had time to justify her inferiority complex - she was too busy insulting everyone! Not what I'd call a moving performance. But then she's not expected to be reasonable - this is 'drama' after all, not the girl scouts!

And still, this wasn't a bad movie. Predictable most of the time, yes, but the story does move along once it gets going. And there are some good just-this-side-of-the-R-rating love scenes which give Sarandan time to make up for what she didn't show in Rocky Horror Picture Show.. which brings up another issue - while Sarandon isn't in the flower of her youth, she's still looking pretty good here, and she's no dummy either. BUT - we're supposed to beleive this hottie's working at a burger joint at 44? MAD magazine would have had a field day..

Finally though, if you like Spader and Sarandon as actors then you'll probably like this movie. Not incredibly beleivable, but then "Love is a wonderous thing". Better than 3 stars so I have to give it 4. March 17, 2008

Some Like It Hot

Max Baron (James Spader) is a nice twenty-seven-year-old Jewish boy drowning in grief and self-pity over the untimely death of his wife. When he gets shorted at a White Palace on cheap hamburgers he picks up for a bachelor party of his best friend (Jason Alexander), in a fit of self-righteousness, he returns to the hamburger joint to demand justice and meets forty-three year-old Nora Baker (Susan Sarandon). The rest is, as they say, herstory since this captivating film is all about Nora. She identifies with Marilyn Monroe (she has posters of Marilyn all over her messy apartment and reminds Max that she has a similar name as Norma Jean Baker). Beneath all her bluster is a woman living on the edge. She mourns the death of her only child, but Nora is a survivor.

James Spader was thirty when he played in this movie although he looks about eighteen; and we forget that he is really the slightly twisted Alan Shore from the television series "Boston Legal." Susan Sarandon recreates the role she did so well in "Bull Durham," the older woman bedding the younger man, Tim Robbins. As the whole world knows, those two have been together since that movie as mate and mate. She and Spader engage in some of the hottest sex scenes you are likely to see that are every bit as torrid of those in "Body Heat" between William Hurt and Kathleen Taylor and Donald Sutherland and Julie Christie in "Don't Look Now."

Director Luis Mandoki manages to turn the Cinderella story on its ear in the character of Nora and asks the question if love can survive this wide an age difference and class chasm. We certainly hope against hope that it can, if seldom in life, then at least in this movie. November 1, 2007

Susan Sarandon is great; movie isn't

Susan Sarandon gives such a strong performance that the "TV Movie" quality of her vehicle is secondary. She doesn't transform the material; she just acts brilliantly, and manages to convey her personal enthusiasm for the sensuous and complex character. Interesting that she doesn't assert the "Older Woman mystique" here. That pupil dilating element flows naturally.
Of course, in the proverbial real world, her beauty and wit would have gotten her at least to the Management level in her work setting - a place (in the movie world) Max Baron (played in low gear by James Spader) would deem as common - revealed by his presumptuous confrontation over the missing burgers.
And, so, the socially/occupationally upwardly mobile White Collar Max makes a date with the stagnant but self-aware and content Blue Collar Nora.
Sarandon's approach is so subtle here that the viewer is challenged to decide if Nora's love of Max is real, or at least as deep as his is for her. Or are they merely joyful that a void has been filled? The electric shock of their passion is felt by the viewer - I'm reminded of movies like "The Owl And The Pussycat", "Bodyheat", or "Atlantic City", Sarandon's gem of a movie in which she plays a somewhat similiar role, though one of insecurity and naivete - when I reflect on this film. The relationships in those three efforts are essentially *wrong*, also.
Max brings Nora home for a big family dinner. The aristocratc guests do not exactly give her a warm welcome. Sarandon maintains her dignity while she is baited and while Max can't seem to find anything creative to say or do, as his Advertising background fails him in the clinch.
Jason Alexander has a supporting role - none of his post-1994 "Seinfeld" energy is found amongst these celluloid frames.




October 5, 2007

"What you see isn't always what you get!"

I remember watching this movie long ago and I'd forgotten how sexy Susan Sarandon can be. Because of her age, (and market pressure of course) Sarandon may never be marketed or packaged and sold as sex symbol; but she should be. In White Palace, Sarandon proves my personal inclination that older women have a deliciously ample level of depth capturing and conveying the essence of a womans true sexual prowess. Or maybe this is simply evidence of my admiration for older women. In any event, this is a classy and giving love story that smolders from start to finish. May 27, 2007

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