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38 out of 41 people found the following comment useful :- Why I love the film Always..., 4 August 2005 Author: truthsayer2001 from United States
I'll just be honest here --- when I originally saw Always at the cinema in 1989, it was just a few months after my big brother passed away prematurely at the age of forty, and I'm not at all afraid to say that I cried like a baby. Like so many Americans, I have watched far too many films that i have taken to heart, but you know, Always is probably one of the final American films to ever really explore and display such deep human issues as unconditional love, mortality, and what a hero really is -- and isn't. It may be mushy, romantic, and a bit flawed, but I am proud that Spielberg made this bitter-sweet film -- I just saw it again and, if anything, it comes across as even more humane and honest in today's America of aggression, greed, and "relative" truth. If you've ever really, honestly, been so in love and committed to someone that you were willing to unconditionally put their needs before you own, or if you've ever lost anyone who meant the world to you, check it out. It changed my life when I first saw it because it made consider death in a new light... and it is about to totally change my life again as I have decided to live every moment for the rest of it as honest and decent and true to myself as possible --something that few of us today are willing to admit is lacking in our lives.
33 out of 35 people found the following comment useful :- If you have ever had a loss, this is the one for you!, 23 July 2003 Author: LISA from Tracy, California, USA
I lost my husband suddenly about 2 years ago. I first watched this movie about 10 years ago and I enjoyed it. Then, I watched it last night again. This time, it was much more personal to me, and I still enjoyed it,only in a different way. The relationship between Holly Hunter and Richard Dreyfuss was portrayed wonderfully. The selfishness he felt when seeing her and Ted together for the first time was so very honest and painful. The pain she feels at moving on with her life, the love and concern John Goodman shows her, the uncertainty of her future and the way she will handle it kept me on the edge of my seat. The emotions were so real and many of them were the same ones I have felt over the past 2 years. The scene where Dorinda dances alone yet with Pete simply sent me to the tissues. When she is putting out that last fire, and is contemplating the rest of her life alone hit home as well. I cried for almost the entire movie this time. The actors portrayed their characters as real as can be, and I truly felt their pain and confusion. I read the book years ago and I feel that this is one of the few times the movie is as good as the book. This time after watching it, I actually was able to find a little peace in my life situation. If you have ever suffered a major loss in your life, I wholeheartedly recommend this movie- even if you haven't, the acting, the script and the movie as a whole gets a 9.0 in my book. Keep a box of kleenex nearby.
28 out of 32 people found the following comment useful :- "He-llo, Pete.", 28 July 2005 Author: movibuf1962 from Washington, DC
Spielberg deserves a fresh look. I open with that because as I read the decidedly mixed thoughts on this and other films of his, I notice the same thought over and over again. People who review Spielberg usually want to pigeonhole him into a type: the ET-warm-and-fuzzy-alien children's storyteller versus the special-effects-heavy-but-rather-empty-plot dreamer. All the while there is the generic whine of 'why doesn't he ever try to do something else (SCHINDLER'S LIST notwithstanding)?' Then when he does, as evidenced here, there are wails of dissatisfaction that he tried to do something over his head. Oy.It's so silly to label and categorize a filmmaker so much. ALWAYS is, first and foremost, a love story. A remake of an earlier film to be sure, but even this 1989 treatment looks and feels nostalgic with its amber-tinted cinematography, the sentimental presentation of the devoted fighter pilots, even Holly Hunter's birthday gift of 'girl clothes' tips a hat to 1940's elegance. And you can't get more nostalgic than the appearance of the ageless, magical Audrey Hepburn (sharp as a tack in her last film as a bright-eyed, no-nonsense angel). All of Hepburn's scenes with Richard Dreyfuss are wonderful (especially the first one when she tries- slightly befuddled- to explain his state of existence), as is the leitmotiv of "Smoke Gets In Your Eyes-" used in two dance sequences with Dreyfuss and Hunter: one at a charming birthday party (watching all the burly firemen clean up is a riot), the other in a bewitching soliloquy of mourning. And once again, John Goodman rises to the occasion as the best friend anyone could ever have. Just saw it on TCM, rounding out a July 2005 tribute to Ms. Hepburn. You should check it out.
21 out of 26 people found the following comment useful :- Heartfelt and touching, 25 July 2001 Author: virek213 from San Gabriel, Ca., USA
*** This comment may contain spoilers ***
Roger Ebert made the colossal blunder of calling this unceremoniously trashed 1989 romantic drama "Spielberg's weakest since '1941'". Spielberg hadn't made HOOK yet. And make no mistake about it, this was unceremoniously trashed (just as A.I. is being unceremoniously trashed).ALWAYS is in essence a reworking (rather than an outright remake) of the 1943 Victor Fleming classic A GUY NAMED JOE. Richard Dreyfuss, Spielberg's favorite Everyman, is the fire-fighting pilot who is great at putting out fires but has this horrible penchant for taking unnecessary chances in the air. Even his best friend (John Goodman) thinks he's overdoing it; and now, his one true love (Holly Hunter) has come down hard on him, basically saying "Enough is enough." Dreyfuss, scared of all this, agrees to change his ways and settle down. But on his last firefighting mission, after having saved Goodman when the engine of Goodman's plane catches fire, Dreyfuss' plane blows up, killing him instantly.In heaven (or a burned-out forest, take your pick), Dreyfuss is met by his guardian angel Hap (Audrey Hepburn, a final fitting performance), who tells him that, yes, he is to go back and to give much inspiration to a future aerial firefighter...but that's only part of it. The problem is, of course, what Hepburn didn't tell him the first time around.Dreyfuss gives inspiration and (often witty and hilarious) guidance to this rookie flyer (Brad Johnson). After a few false starts, including the hideously funny "dump-all-over-Al (Goodman)" sequence, Johnson begins to learn the ropes. But then, Johnson begins to fall in love with Hunter. And it is there that we realize that Dreyfuss can still feel pain, even though he's dead. Hepburn understands his pain, and says that he still has to settle with Hunter. Until he does that, not only won't Hunter be free of her pain, but Dreyfuss won't be free of his. The moment of truth comes in the climax, a terrifying flight by Hunter through the flames of a mountain firestorm in which Dreyfuss has to safely guide her out. The coda is one of the more heartfelt and touching sequences in history.So many complained that this feels like a 1940s film with 1980s/1990s new age mysticism. In a certain way, it does. But ALWAYS worked for me because of its incredible emotional sensitivity. Dreyfuss, Hunter, and Goodman are really great in this film, as is Hepburn in her final role. John Williams' great score is the icing on the cake, and the use of "Smoke Gets In Your Eyes" as the film's love theme is also appropriate.ALWAYS is nowhere near being the bad film Roger Ebert and others made it out to be. Next to A.I., I think it is the most misunderstood film Spielberg has ever made. It's a real touching film, worth seeing again and again.
19 out of 25 people found the following comment useful :- A film worth revisiting, 1 April 2003 Author: Mark Krasselt (zuluking@americancan.net)
It has been a while since I have seen this 'Always.' The years, I should say, have done this film justice.A noted cinephile, I know when to eat my words, and this is one is for the books. Sincere. Honest. Touching. Obviously sparked with a late-eighties, Spielbergian hyper-real, cinematic extensions and flair, these elements do not bog the film downs as, say, with '1941' or 'The Color Purple.' And why should we expect modern filmmakers to be like those of the forties or fifties? Modern filmmakers are just that -- modern. Holly Hunter is a walking dream and she has talent in droves. I have long had a crush on her and her funny mouth. She is simply enchanting and steals the show. Goodman, for once, is kept under control. Dreyfuss, with the thankless role of revisiting his past and commenting on the future, is the weakest link but only just. Sumptuously photographed by deftly edited, this story of unrequited love is as universal as mothers and babies. If it doesn't bring tears to your eyes, shame on you. The best advice to view this film is to forget it is a Spielberg film. Enjoy it for the love story that it is and sink into its voluptuous and charged charm.We should all hope we become angels in the mist, able to return to Earth to right all the wrongs of the world.This may be one Spielberg's most romantic films, next to A.I., which is a supremely magnificent film and, also, equally dismissed when it first arrived on the scene.I urge all to give this film a second chance.
15 out of 18 people found the following comment useful :- A graceful swan song for Audrey Hepburn, 11 February 2001 Author: 23skidoo-4 from Calgary, Canada
At first glance, Always looks like a variation of Ghost, until one realizes it is a remake of a much older movie. But it has something Ghost certainly did not have -- Audrey Hepburn.In what would be her final big-screen appearance, Audrey is radiant as the angel Hap, who appears all too briefly in the film. From the moment her famous voice is heard, time seems to stop. True, Audrey doesn't have a lot to say -- although her Doctor Who-like non-explanation about time is funny -- the few moments she is on screen are minutes to treasure. If Judi Dench and Ingrid Bergman were able to get Oscars for glorified cameos, it's a shame Hepburn didn't rate a nomination. Of course, much of what's special about Audrey's role in this film comes from hindsight -- the fact she only had a couple more years to live, and the fact she had only appeared a few times on film in the previous 20 years. But we can be thankful to Steven Spielberg for not only getting Audrey to make the appearance, but also for giving her a classy film in which to make her swan song.
16 out of 23 people found the following comment useful :- Positive review of movie, comparing and contrasting to Ghost, 13 April 2003 Author: Nathan from Mesa, Arizona
This is a quality film, and it is one of the reasons why I think John Goodman is a really a good actor who often goes unnoticed. This movie would have been decent with any cast, but I think the combination of John Goodman, Holly Hunter, and Richard Dreyfuss really brought the story to life. Additionally Spielberg does a good job of incorporating the supernatural presence of Pete Sandich's ghost without relying on dramatic special effects. This movie is somewhat similar in theme to Ghost (which came out one year after Always), but Ghost focuses more on the supernatural aspects and goes to great lengths to show the ghost walking through doors and other objects. To a certain extent these special effects take center stage in ghost, whereas in Always you never see Richard Dreyfuss walk through anything. All of the cool supernatural stuff happens offscreen leaving the plot and the characters as the main focal point. That being said I think that the action scenes with the planes flying over the forest fires are really thrilling. It's beautiful, and intense. (I think it makes the dogfights in Top Gun look like a Carousel ride) Go rent this movie.
12 out of 17 people found the following comment useful :- To Spielberg always, 14 April 2005 Author: (petrovaz@mail.ru) from Russian Federation
An unexpected film from the director who made his name with box office hits like ET, The Jaws (to say nothing of Indiana Johnes series). Always comes from this period between all these kids' stories and a new wave of escapist fantasies about dinosaurs. When a kid I loathed this film because I did not understand it at all and was a big action –special effects movies fan. Time changes a lot. I learned to appreciate this magnificent picture and it is one of its biggest secrets at the same time. I love this movie but can not clearly explain why, there are lots of films which appear to me to be much more interesting, lots of film which appear to me to be much more intellectual but still I can not help loving this simple low budget love/friendship story. I just want to tell you about some scenes from Always which are my personal favorites:1.The fire pilot club scene when Pete "remembered Dorinda's birthday wrong", He says:"Why do not we try signaling to the band, it works in the movies" and then everyone present wants to dance with Dorinda while Pete is watching the whole affair from upstairs. It is so…..so perfect. 2.Hepburn – Dreyfull dialogue in the field with her telling him about Spiritus "something they get when they need it most".3. Dorinda and Ted dining with Dorinda dancing to Platters tune. Words fail to describe it.4 The final scene in the aircraft, and these Pete's last words:"You are going to have wonderful life". JohnWilliams' score is awesome, especially the closing titles theme-a sound of a lonely piano echoing…. Away with the pretences this film weights 8 on my great movies scales because it moves me, inspires me and I keep 9 and 10 only for all time classic like Bergman's Virgin Spring or Griffith's Intolerance.
7 out of 8 people found the following comment useful :- Still moves me., 12 June 2002 Author: redservo from North Carolina
Having just seen a re-cap of AFI's 100 most romantic films, I decided to go through my own video library to see how many I owned. Of course, starting alphabetically, I pulled out "Always". It wasn't on AFI's list. But it is on mine. I threw it in the VCR, having seen it at least 3-4 times before, and it was like watching it for the first time again.To sum it up, I wept, from the opening to the closing scene. Rarely am I so touched by a film that it affects me so strongly as to push aside all rational thought and open up the flood gates. But I should expect no less from the man (Spielberg) who single-handedly keeps the tissue industry in the black. He knows how to tug those heart-strings. He's doesn't just play off one emotion; he goes for them all! Drama, action, humor, loss and love. And what he does in "Always", just like "Empire of the Sun", "The Color Purple", "E.T.", "Schindler's List", and "Saving Private Ryan"; is never let the rider off the coaster.Unfortunately, at the release of "Always", he had not fully gained the respect of the industry enough to prevent this film from being pushed aside. For me, however, it's still right there up on top!Kudos Spielberg , for reminding us that even your less-seen films were done w/ brilliance, integrity, humor and a more than just a few tears.
11 out of 16 people found the following comment useful :- A Minor Classic, 12 February 2001 Author: Ron-181 (rhall96319@aol.com) from Lake Butler, Florida
This is a feel good romantic comedy that will be in movie viewers libraries for years to come. Great cast lead by Richard Dreyfuss and well supported by Holly Hunter and John Goodman. Throw in a glimpse of Audrey Hepburn, and you have the making of another fine movie from Steven Spielberg. "Always" has all the ingredients to become a minor classic with staying power. I rated this 8.
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