Moonstruck.

Review #1484: Moonstruck.

Cast:
Cher (Loretta Castorini), Nicolas Cage (Ronny Cammareri), Olympia Dukakis (Rose Castorini), Vincent Gardenia (Cosmo Castorini), Danny Aiello (Johnny Cammareri), Julie Bovasso (Rita Cappomaggi), Louis Guss (Raymond Cappomaggi), John Mahoney (Perry), Feodor Chaliapin Jr. (Grandpa Castorini), and Anita Gillette (Mona) Directed by Norman Jewison (#127 - Rollerball, #273 - The Cincinnati Kid, #544 - In the Heat of the Night, and #691 - The Thomas Crown Affair)

Review:
"Directing, in many ways, is manipulation because you're dealing with a lot of egos. You have to manipulate people into thinking it was their idea, to get them to do what you see as being the best, to edit them without their knowing they're being edited."

Norman Jewison is one of Canada's most notable directors, made evident by the fact that he made a honest career of mostly successful films for four decades. He rose his way up from work in television in both Canada (with the CBC) and the United States (on NBC) before being inspired to branch into film, with his first few films being comedies for Universal Pictures, such as Forty Pounds of Trouble (1962) with Tony Curtis, or Send Me No Flowers (1964) with Doris Day. His first true breakthrough came with The Cincinnati Kid (1965), the first of his numerous challenging dramas, described by him as his "ugly duckling" film, which occurred after he was brought in for the fired Sam Peckinpah. Numerous highlights would follow in the next couple of years, such as the Cold War comedy The Russians Are Coming, the Russians Are Coming (1966), In the Heat of the Night (1967, winner of Best Picture), the musical Fiddler on the Roof (1971), and the period drama A Soldier's Story (1984). The year after the release of this film, he founded the Canadian Film Centre, dedicated to helping Canadian professionals further work in advanced school training from film to digital media. Jewison was nominated for seven Academy Awards in his career (four for Best Picture, three for Best Director), and while he did not win any of them, he was awarded the Irving G. Thalberg Memorial Award in 1999 for his body work as a creative producer, with his final work being The Statement (2003).

Sometimes there just comes a romance or comedy that hits you right where it matters most, and this is one of those films. Honest but sweet with a tremendous cast and direction, Moonstruck is a film that was surely destined to be a favorite that would make audience brim with warmth and mean every moment of it. There is just something in that script by playwright John Patrick Shanley that Jewison saw as fitting for these actors and these settings that are prime for entertainment of the heart. It is exactly the kind of family film for folks who enjoy dedicated material without overt sentimentalism but instead fair honesty. One might know where it could go with its romance, but it doesn't stop the fun. In a busy year for Cher, it should figure that her third role of that year was the one that received the most acclaim. She does a pretty good job with this role, inviting one in with modesty and good timing that resonates well whenever with Cage or with others, pulling off a compelling performance without artifice. Equally as compelling in energy and spirit is Cage in an early breakthrough role for the actor (having started his career just five years prior under his birth name of Coppola), one that reaches our attention and our passion without having to really do much (his whole bit with the story of how he lost his hand is a good example of that). Dukakis proves just as comforting in amusement in a solidly charming turn with a handful of lines to go with a well-rounded performance. Gardenia also proves just as endearing in his own way of humor. Aiello, even without much time on screen, is enjoyable in generating amusement for a well-meaning dope, while Chaliapin Jr nearly steals the show with reserved amusement. Film and stage actor (alongside acting coach) Bovasso proves a worthy supporting presence, both in charm alongside in helping Cher and Dukakis in doing Brooklyn accents. By the time the film rallies everybody to the kitchen table for its last turn under the sun, it already has proven a worthy time about detailing what it means to be struck in love, or at least the complications that can arise from what the heart and mind wants most. It brings itself together with charm without sacrificing any moment for a cheap gag or a cheap pull at the heart, which makes for a resounding winner to seek out as one of Jewison's best.

Overall, I give it 9 out of 10 stars.