A Movie A Day: LOST IN YONKERS (1993) You know what it's like to touch steel, mama? It's hard and it's cold.
Published at: Jan. 5, 2009, 4:22 p.m. CST by quint
Ahoy, squirts! Quint here with today’s installment of A Movie A Day.
[For those now joining us, A Movie A Day is my attempt at filling in gaps in my film knowledge. My DVD collection is thousands strong, many of them films I haven’t seen yet, but picked up as I scoured used DVD stores. Each day I’ll pull a previously unseen film from my collection or from my DVR and discuss it here. Each movie will have some sort of connection to the one before it, be it cast or crew member.]
In a weird sort of way LOST IN YONKERS is the title that stands out the most from the A Movie A Day list for me personally as “I can’t believe I haven’t seen this movie.” There are much, much bigger movies than LOST IN YONKERS, but it’s not the size of the movie or its importance to film history that has me saying that. It’s the time period it was released.
Starting at age 10 I obsessively rode my bike to the local mall four-plex (about a mile and a half each way) and watched everything rated PG-13 or below. Everything. From 1991-1993 I saw every damn movie that came out, especially if it was PG because the jerks at the theater wouldn’t let me buy a ticket for the harder stuff even though my parents didn’t mind that I watched those movies. The concept of buying a ticket for another movie and walking into an R-rated one didn’t even register as a possibility in my little brain.
But I saw everything from THE MIGHTY DUCKS to HEART AND SOULS to LEAP OF FAITH and when I moved to Austin in late 1993 I really did fall into movies as I was the new kid and didn’t have any friends. Those were the days where I’d spend the weekends living at movie theaters, watching 3 or 4 at a time on Saturday and then repeating again on Sunday.
LOST IN YONKERS was released 1993 and was rated PG. I loved Richard Dreyfuss, but I don’t think I was even aware this film was out. Somehow I missed it in one of the most movie-hungry times of my life.
So, it might not be as shocking as THE SOUND OF MUSIC or RIO BRAVO, but to me it’s the movie that makes the least amount of sense.
I almost wish I hadn’t followed up THE GOODBYE GIRL with this film because it’s hard to follow that movie. LOST IN YONKERS isn’t a bad movie, it isn’t mediocre… in fact it’s very enjoyable, but lacks that certain dead-center emotional punch and intimacy that THE GOODBYE GIRL had.
For starters, Richard Dreyfuss gets top billing, prominent DVD cover placement and ends up being a supporting character in the movie, not even appearing until 2 reels in, so automatic disappointment.
However, I’m sure that LOST IN YONKERS is just as autobiographical as THE GOODBYE GIRL, probably even moreso. The film takes place in the ‘40s as two brothers are left with their strict grandmother who runs a candy shop with an iron fist as their father travels around the country selling steel as a means to pay off a huge sum of debt.
Also living with the strict grandma is the kids’ Aunt Bella, the middle aged woman-child adorably played by Mercedes Ruehl. She is the kids’ only safe harbor from the wicked and cruel grandmother, almost like another playmate.
Then there’s Uncle Louie (Dreyfuss) who shows up one night carrying a little black bag and always looking out the window. There are a couple of guys in fedoras and pinstriped suits asking around for him, which only furthers the kids’ belief that he’s a mobster on the run with some crazy money or mob secrets or something.
If Bella’s represents the innocence of childhood, then Louie represents the mischievous side of childhood. He encourages the kids to stand up and fight (Moxie is what he calls it), he encourages them breaking the rules, risking punishment for the sake of tasting the thrill of self-won freedom. But to the person, the family is fucked. The grandmother is a cold bitch, Bella is loopy, Louie is a no-good criminal and the boys’ father has no strength and can never stand up for himself… And then there’s the Aunt Gert who has a speech impediment that is hilarious and completely over the top (she speaks half her lines sucking in air).
The message is essentially the absence of love by the strict matriarch left her children incomplete. But the Grandmother, played by Irene Worth, isn’t a full fledged villain. She has her reasons for being a tough broad, barely escaping Europe and losing two kids… it has taken her compassion out of her, making her believe the only way to protect herself and her children is to remove all love from the family.
What I liked about the film is it didn’t try to attain some big redemption for the grandmother. The goal is simple. She opens the movie saying that she didn’t cry when she was crippled in Europe, she didn’t cry when she found her little boy dead in the street or when she lost her other child. She will never cry. If she cries, that’s a monumental leap for her, so the goal of the movie is to actually break through her tough shell, even for an instant.
That’s more realistic than everybody living happily ever after and, to me, it packed an even bigger emotional punch than if they had played it safer and more traditional.
That said, there’s a lack of intimacy that I mentioned early on in this review. It’s an entertaining movie and everybody does a good job, especially Mercedes Ruehl, but I don’t know how much of it is going to stick with me. Whereas I can tell you THE GOODBYE GIRL will be with me for a long, long time. Something just clicked in that movie that didn’t click here.
Final Thoughts: The entire cast are to be commended for their work, Ruehl being the MVP. David Strathairn also deserves a mention for his turn as Ruehl’s simpleton movie usher romantic interest. He isn’t very bright and is confused, but there’s a spark between him and Ruehl. Even though they don’t end well, he is the catalyst that finally gives Ruehl the ability to stand up to her mother. It’s not a glamorous part, but it’s a crucial one. There isn’t a stinker in the bunch, Martha Coolidge’s direction is fine, Simon’s script is fine and the two lead kids kind of hit that perfect middle ground between unrealistically adult and annoyinging childish. That adds up to a good flick that falls short of being a great flick.
Here are the final run of A Movie A Day titles:
Monday, January 5th: THE SUNSHINE BOYS (1975)
Tuesday, January 6th: CALIFORNIA SUITE (1978)
Wednesday, January 7th: A BRIDGE TOO FAR (1977)
Wow, down to the last three. The Neil Simon run continues for tomorrow’s THE SUNSHINE BOYS starring Walter Mattheau and George Burns! See you folks then for that one!
-Quint
quint@aintitcool.com