In Big, 13-year-old Josh Baskin wishes his way into a 30-something-year-old grownup version of himself. The trope of a mind-body mismatch was certainly nothing new in 1988, and in fact the late ’80s had a whole slew of movies featuring this exact same plot. These are heedfully chronicled by Mike Ryan here and include the likes of Vice Versa, Like Father Like Son, 18 Again! and Dream a Little Dream, all released within the approximate span of a single year; the other point of commonality those films share, of course, is that they’re all pretty crappy. Big is the outlier in that regard. I was about the same age as Teen Josh when I first saw the movie, and I found myself enamored with the possibilities of instant adulthood, getting a job with a toymaker and renting a sweet NYC penthouse and flirting with someone who would eventually and inexplicably agree to become my girlfriend. Teen Me was most likely motivated by this last point.
Today I’m closer in age to Adult Josh, and now Big almost seems like an entirely different movie. From a kid’s point of view, looking forward to finally attaining that brand of independence reserved for grownups, Penny Marshall’s sophomore directorial effort rings true in almost every frame. It has the wide-eyed wonder and the sentimental disillusionment that all kids experience to some degree. In a sense all movies are accelerated versions of life experiences, condensed down to two hours and designed in an arc so as to bring the viewer along for the ride with the characters on the screen. From a kid’s point of view, Big works because that acceleration is literally a part of Josh’s experience: he goes from kid to grownup and back again in a short amount of time, and so do we.
Continue reading Big (1988)
If you want to make an omelette, the saying goes, first you have to make a remarkably unexceptional non-starter featuring Whoopi Goldberg as a tech whiz embroiled in an espionage scandal. Apparently people actually like Jumpin’ Jack Flash, judging by the surprising number of nostalgia-fueled pieces about Whoopi’s young comedy days, but apart from an amusement with her indomitable ‘tude I can’t imagine why. You can just watch The View if you’re into Whoopi’s ‘tude, right? Unless you prefer a different kind of supporting cast, essentially one made up not of has-beens but of not-yets.
One such not-yet was behind the camera in the form of Penny Marshall, one day destined to direct the likes of Big, Awakenings, A League of Their Own and more alongside her numerous TV credits. Jack Flash is the transition piece from the Laverne & Shirley days (she was Laverne) and also serves as her first real foray into feature filmmaking. As is the case with many such transitions, Jack Flash is really only noteworthy in a retrospective review of a one-day-great director. Another Happy Days-related alum leaps to mind in the form of Ron Howard, who would find great success behind the camera but not before making his first movie Grand Theft Auto.
Continue reading Jumpin’ Jack Flash (1986)
Penny Marshall’s Awakenings is most superficially compared to Barry Levinson’s Rain Man for a few understandable reasons, not least of which being the two films feature a famous lead actor playing a character with a severe medical affliction. The two films also came out within two years of each other, and some may suspect Rain Man‘s success to have influenced Awakenings.
Starring Robin Williams as Dr. Malcolm Sayer (an analogue for real-life Dr. Oliver Sacks, whose memoir provided the basis for Awakenings) and Robert De Niro as mostly-catatonic patient Leonard, the film follows both men as they experience a breakthrough with regards to Leonard’s condition. Sayer’s intuition leads to the application of a new drug which brings Leonard and other patients of the ward out of catatonia and into a clearer existence, “awakened” to the world. The continued treatment of Leonard proves a heartbreaking experience for Dr. Sayer.
Continue reading Awakenings (1990)