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July 6, 2004
RUTHERFORD ON FILM: 'Bewitched' Tries to Please Everyone; Ends Up Like Hit or Miss 5-4 Supreme Court Opinion
by Tony Rutherford
Huntington News Network Columnist
Huntington, WV (HNN) --- Every Hollywood movie executive wishes they could wiggle their nose and cast a spell on moviegoers like Elizabeth Montgomery did in the long running "Bewitched" situation comedy. The concept of a bunch of Hollywood production suits and an egocentric actor (Will Ferrell) searching for an unknown twinkle nosed woman (Nicole Kidman) to play Samantha in a revamped 21st Century version of the classic series has merit; unfortunately, the film plays like 5-4 U.S. Supreme Court decision clouded with concurring in part and dissenting in part decisions.
Basically, "Bewitched" tries to flicker on three levels at once: Rekindle the nostalgia of the popular classic TV series, toss fish-out-of-water one-liners, and serve up subtle male and female relationship hurdles within a love me as I am framework. The film's second aim casts the proper spell, but the remaining simultaneous sub-stories often attach themselves to the one-liner portion like gum stuck to the bottom of your shoe on a baking hot and humid afternoon. In short, the production picks up speed like an Olympic swimmer, takes on water, lists and barely stabilizes before the end credits roll.
Nicole Kidman does a half-way magical performance instilling a nearly brash feminist element in Samantha's familiar stay-at-home wife role in a screenplay written by Delia and Nora Ephron and directed by Nora Ephron. Kidman has great scenes after announcing to her dad (Michael Caine) that she's given up witchcraft. Attempting to plug in DVD/VCR cables, learn about dimming lights, and gleefully dancing in the rain spring loose surging giggles, but the funny stuff ebbs when she starts confronting a notoriously manipulative man with whom she's up to her nose in love.
While a sparkling, spontaneously chemistry with on screen co-star Will Ferrell fails to ignite, the perils of love relationship dilemma does eventually soar, perhaps, unintentionally. As Kidman's character yearns for normalcy or at least a man who can accept her witch affliction, the film's hyperbolic romantic commentary starts relating to every man and every woman living on this Third Rock from the Sun. In short, most people want to be accepted for their many "me" faults, yet after sharing blunt honesty (a.k.a. criticisms or "I wants") retain the "magic" of love's intimacy, differences, and forgiveness, which permit the survival of individuality and the blending compromises necessary for a successful long-term relationship.
Still, Ferrell fails to recover from continuing over-acting bursts in the film's initial minutes. In fact, as his ego craves more and more laughs, he goes from likable jerk to, well, why doesn't Kidman just turn him into a toad and start over with a new co-star.
Two supporting cast members --- the aforementioned Caine and Shirley MacLaine_--- help keep re-focusing the film on comedy, particularly when Caine casts a flirtatious eye at younger women and MacLaine twist her nose and rubs her ear to induce terse put-downs to his pick up lines.
