By Chlotrudis Independent Film Society
Rating: 2.3
Director: John Sayles
Starring: Angela Bassett | Edie Falco | Jane Alexander | Mary Alice | Ralph Waite | Timothy Hutton
Country: united_states
Year: 2002
Running time: 141
IMDB: http://us.imdb.com/Details?0254199
Bob says: “Ok, the film was decidedly more dialog-driven than visual, but that’s pretty much Sayles’ style. He’s very political and preachy, and he makes little or no effort to disguise that in his work. Because of that, his characters are more often than not representatives of some perspective or agenda. You kind of have to give him the latitude to do things his way, or just steer clear of his work.
“While I certainly didn’t think SUNSHINE STATE was his best work, I thought that for the most part it worked well. Sayles has gotten to the point in his career where some rather well-known people want to work with him (probably for not a lot of money), and I thought he made great use of his cast in general.
“I saw it as a rural/suburban version of CITY OF HOPE, which I consider to be one of his least appreciated (but best-intentioned) films. Sayles is very good at presenting different perspectives. Obviously, he’s not a completely disinterested party — he has his own agenda, but part of that agenda is allowing that every side at least sees itself as right. On top of that, he gives us Timothy Hutton’s character, who’s own view of the situation is unclear both to himself and the audience. In that sense, the film differs significantly from something like MATEWAN, where the good, downtrodden workers must battle the evil, soulless bosses. Oh, and I don’t want to be misunderstood here: I LOVE MATEWAN. And for those of you who haven’t seen it, I very strongly recommend CITY OF HOPE, mostly in the hope of finding someone else who actually liked it.”
Clinton says: “I have to say that my biggest complaint with SUNSHINE STATE, and with John Sayles in general is what I call ‘filmmaker narcissism.’ Not to sound harsh, but it’s the problem that some filmmakers have where they fall so in love with their own film and their own images that they simply can’t take the step back that is necessary to excise certain scenes or certain dialogue that, in the end, would perhaps make a better film. Sayles gets pretty free reign with his films, and the good and bad side of it is that his mind can go to places that no money-minded producer would let him touch (LONE STAR, BROTHER FORM ANOTHER PLANET), but on the other hand there’s no one to reign him in when he starts rambling (STATE, PASSION FISH, and the overpraised SECAUCUS SEVEN).
“Eh, ya gotta love the guy for being the filmmaker he wants to be. And I have to say he was awfully nice when he came to the Coolidge. I just wish that the films were made with my overall enjoyment in mind sometimes. If that were the case, Alan King would certainly have been excised from the entire film (But more Edie Falco…she blew me away yet again).”
Diane says: “b-o-r-ing! Hey, John Sayles, ever hear of ‘show, don’t tell?’ Decided lack of dramatic tension. Way too many stories going on (way too long), and none of them piqued my interest. Within many dialogues, lingering shots on one character would have served much better than the numerous back and forth cuts. Music during backhoe scene was so out of place and heavy-handed. When Edie Falco said that she never swam again after being a mermaid, Janet had only to glance my way…. ” 1 cat
Laura says: “Sayles throws a multitude of characters into his mix, but most of their storylines go nowhere. As self-absorbed Francine grimaces through one lame Buccaneer event after another, her banker husband Earl (Gordon Clapp) alternately attempts suicide or embezzlement. Marly’s mom and bartender speak supportive words about her ex (Richard Edson, STRANGER THAN PARADISE), but when we meet him, clearly he’s a buffoon. Marc Blucas makes so little of Marly’s golf pro boyfriend, that we hardly notice him leave the picture. A Native American Indian laborer has a scene or two that illuminate nothing. Desiree’s elderly mother boards a young arsonist, one of whose crimes opens the film, to give McDaniel something to do. Activist Dr. Lloyd (Bill Cobbs, RANDOM HEARTS) sanctimoniously pesters Desiree and the residents of Lincoln Park. At least Delia Temple (Jane Alexander, TESTAMENT) realizes the futility of her community theater efforts – she’s the East Coast liberal intellectual Sayles must have felt a need for, Dr. Lloyd’s counterpart.
“Alan King’s golf game is like stand up punctuating the action. After a beautiful and symbolic underwater shot of Marly swimming, the perfect ending for this film (after the stunningly abrupt and ridiculous wrapup that precedes it), Sayles makes the horrible decision to cut once more to the golfing geezers for a coda that visualizes his real estate themes. He makes a brief appearance to almost get hit by their golf ball which would have been poetic justice. ” 2 cats
Michael says: “The latest from Taskforce Award recipient John Sayles once again looks at community, as the residents of a small seaside town in Florida must grapple with developers hoping to come in, build condos and make some bucks.
“Or, as Scot so eloquently put it, ‘a story of one woman returning home and another who never left.’
“SUNSHINE STATE is not a perfect film, but I loved it. I love to let John Sayles’ films just wash over me, like the surf on a Florida beach. No, SUNSHINE STATE didn’t NEED to be 2 hours and 20 minutes. Sure, there were some characters and storylines that could easily have been excised from the film with no notice. But aside from a couple monologues that were just a shade too preachy, SUNSHINE STATE is a luxurious trip into the lives of the colorful characters living in Plantation Island.
“While Edie Falco’s Marly Temple is struggling with her own frustration at running her father’s motel and restaurant, she must also avoid her scheming ex-husband Steve, cope with the fact that her current boyfriend (‘Buffy the Vampire Slayer’s’ Marc Blucas) is leaving her to go on a Pro-Golf tour, and enter a tentative romance with Timothy Hutton’s Jack Meadows, a landscape architect recently arrived to transform a section of the island into a ‘natural’ gated community.
“Meanwhile, Angela Bassett’s Desiree has returned to after well over a decade with her new husband Reggie (James McDaniel) to her hometown and disapproving mother (Mary Alice.) Having been sent away by her parents at fifteen for becoming pregnant, Desiree’s return is filled with skeptical, but as she gradually sees that people do grow up, she too becomes concerned with the developers that hover over the area.
“This is a true ensemble cast, with outstanding performances with most of the players. Edie Falco in particular shines as a woman whose dreams have eluded her as she has been forced to live those of her father (Ralph Waite) who has become too ill to manage the hotel/restaurant. Her mother, an aging thespian impresario running the local community theatre with drama to spare is wonderfully played by Jane Alexander.
“Other key players are Mary Steenburgen, reprising her role from MISS FIRECRACKER to some extent, but with just the touch of forced charm and beaten down disappointment, Angela Bassett, gracefully handling the prodigal’s bitter return and slow and gentle reconciliation with her mother, the wonderful Mary Alice. Timothy Hutton is in fine form as well, as the developer who loves his job while ignoring the damage it sometimes causes.
“So perhaps not to everyone’s taste, I would still recommend it, if for nothing else, the strong performances. But if you overlook a couple pedantic, meandering monologues, and just relax into the characters, you may just find yourself really enjoying yourself.”
4 cats
And in response to Scot’s response to Nathaniel R.: “Well, with the exception of Ralph Waite’s first speech (to his nurse) I found all the speeches to be somewhat stylized dialogue for the purpose of either contributing to the film’s theme, or flesh out the characters. Some of the dialogue between characters I took to be examples of the chatty nature of the residents… a place where stuff gets around pretty fast.
“And since Scot mentioned PASSION FISH, (which is my favorite John Sayles film, and one of my all-time favorite films) let me just say that while I do think SUNSHINE STATE an inferior film, I think it comes very close in tone to PASSION FISH. (As Bob knows, I haven’t seen CITY OF HOPE yet, so I can’t make that comparison.) STATE and FISH share the leisurely pace, the exploration of character, the Southern setting…
“And the ‘anal probe’ scene is a perfect example of Sayles using scenes that aren’t necessary, but are so wonderful!”
Marilyn says: “The key words in your remarks Michael are ‘the wonderful Mary Alice’…..Loved her performance…..very quietly she delivers this complex character to your door….this movie had problems but she was not one of them…”
Nathaniel T. says: “Long, but thoroughly enjoyable. Many laugh-out-loud moments, and some great performances. Like 8 WOMEN, a great cast, but this time with one performance that towers over the rest. That performance is given by Edie Falco, and is one of the best in any category this year so far.” 3 cats
Nathaniel R. says: “I wanted to say I really enjoyed SUNSHINE STATE as well.
“In terms of Sayles monologue-heavy political style, it would probably be a beaut’ on stage but I still think it works for his films (if you can handle the stylization of it all) -given that they’re very committed in that regard. There’s not any waffling on the flavor of the dialogue/speeches. Sayles is what he is.
“I thought it was a lovely film. Most impressive would be Edie Falco’s work. You see a complete emotional character arc -even though there’s no traditional action prompting that… I mean there is a plot around her but the character arc is entirely internal. Wonderful performance.”
Scot says: “I was not impressed by this effort. Michael covered most of my complaints: pedantic, unnecessary scenes and storylines, uninteresting and uninspired monologues that serve no purpose but to preach or establish character — which could have been done visually, and about an hour too long. Liked Falco, liked Alexander, liked Hutton, liked Alice.
“I would recommend this film once it’s on video and you have a Sunday afternoon you set aside for cleaning your house, but need a diversion to get out of it.” 2 cats
And in response to Nathaniel R.: “Personally, it’s not the stylized or even politically oriented dialogue of this film that turned me off. It’s just that the speeches do not contribute to the film’s theme or advance the plot. And in some cases, they don’t even have a point. A couple of Ralph Waite’s early speeches, for example, only give us an idea that he hasn’t moved on from the ‘good old days.’ It doesn’t take 2-3 minutes to establish that fact. In contrast, the speeches in Sayle’s PASSION FISH all are insightful or dramatic or move the plot forward, with the exception of the fabulous ‘anal probe’ monologue.”