In this sweet romance, the give-and-take of stars James Gandolfini and Julia Louis-Dreyfus provides some of the best moments. Why First Dates Are TOUGH, and What To Do About It. Spread the love. Whether you’re dating every week, Do you have a nervous quirk? If so, what is it? Autism spectrum disorders (ASD), otherwise referred to as pervasive developmental disorders, first appeared in the Diagnostic and Statistical Manual, Third Edition.
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This dedication appears right before the end credits of "Enough Said. That's because the wryly amusing look at the foibles of middle-age modern romance by filmmaker Nicole Holofcener " Please Give ," " Friends With Money " happens to be the second-to-last film with James Gandolfini in the cast. The actor, who left a massive crater of an impression on the TV landscape in his six seasons as hot-headed mob boss and suburban dad Tony on "The Sopranos," died in June from a heart attack at age His legacy includes a parade of Tony-inspired anti-heroes in such off-network shows as "Breaking Bad" and "Mad Men," along with legions of bereft admirers.
But while there is an extra pang of poignancy in observing Gandolfini in one of his final roles, there is also joy in the sight of him breaking free from the confines of his tough-guy straitjacket, and playing a sweet, affable, even sexy lug with an abundance of honesty, humor and heart.
Gandolfini worked steadily and sometimes memorably as part of an ensemble in such features as " True Romance ," " Get Shorty " and " Zero Dark Thirty ," but he never found a defining film character that was anywhere near as rich and complex as Tony Soprano—until now, perhaps. His Albert—a divorced dad and self-described slob whose ex nitpicked his every quirk, from his avoiding the use of bedside tables to his habit of picking onions out of his guacamole—supposedly reflects his own gentle-giant nature.
The set-up for "Enough Said" and many of its running gags finds Holofcener in more commercial terrain than usual—in what is almost a sitcom vein at times. She, too, is divorced, and is more wrapped up in mourning the upcoming loss of her college-bound daughter than in looking for a new relationship.
Wouldn't you know that Albert and Eva would bond at a cocktail party, since his daughter is going away to school as well. Eva signs her up as a client, and before too long realizes from her petty kvetching about her former husband's idiosyncrasies that she is Albert's ex-wife.
Of course, Eva wants to have her Albert cake and hang with cool-chick Marianne as well. She and Albert laugh at each other's jokes. He invites her over for brunch even if he is still in his sleeping attire. The sex is good, and she doesn't mind that his pudgy hands look like "paddles. And he, being a rather sensitive soul, soon can't help but notice. We all know what happens when such tangled webs are woven.
This one also involves some extraneous strands, including Eva's co-opting of her daughter's best friend as an empty-nest replacement and Toni Collette as Eva's best pal, a therapist who clearly might benefit from getting psychiatric help, given her furniture-rearranging obsession and passive-aggressive relationship with her inept housekeeper.
Even as Gandolfini joins the ranks of unlikely plus-size movie Romeos such as Ernest Borgnine in "Marty" and John Candy in "Only the Lonely," it is interesting to contrast his approach to his character with that of Louis-Dreyfus. The funny lady might have made TV hay as yuppie princess Elaine Benes on "Seinfeld" and, currently, as our nation's second-in-command on the scathing political series "Veep.
That may be why Louis-Dreyfus only has eight live-action features on her resume, with several of the titles—especially 's " North " of which Roger Ebert once famously wrote, "I hated this movie. Hated hated hated hated hated this movie" —landing squarely in the turkey category. Luckily, this is not the case in her scenes opposite Gandolfini, who allows us to forget the ugly temper and sadistic tendencies of his most famous creation while lending Louis-Dreyfus some of his teddy-bear warmth.
Their give-and-take provides some of the movie's best moments. Similarly, Gandolfini's Albert—if not the actor himself—has had a lifetime of being judged for his excessive girth. As his character says of his upbringing, "I was fed and told not to move. If you have to bid farewell to someone this talented, what better way than to finally take advantage of all Gandolfini's wonderfully rough-edged attributes?
This message came to me from a reader named Peter Svensland. He and a fr Keeping the Darkness at Bay: Who do you read? Good Roger, or Bad Roger?
Roger Ebert This message came to me from a reader named Peter Svensland. First They Killed My Father. Battle of the Sexes.