Picnic (2000)

I'll tell you why so serious

best movie i've ever seen.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

I don't like the 1955 version. There. I said it. William Holden was great in movies where he played a guy who was too smart for his own good, but in Picnic he seemed to me like a guy who was given a pass on the brain problem due to his study bod. Maybe that's how it works but I don't have to like it.This remake takes the position that all these country-fried boobs could be brainy in a universe created by a playwright. So, in this version, they are. They're even pacifist and have weird liberal ideas and actually decide to reject things like materialism and money grubbing.Needless to say, this rubs some folks the wrong way. They prefer the incoherent 1955 version where everybody is motivated by good old American lust without the ding dang lib- tard poly-ticks.I boosted the rating for political reasons.

This version moved a little slow for my taste and I suppose I have problems with this play to begin with. But first the movie, it's a typical TV movie version of a play which means it doesn't have the flair of the original film version with William Holden. What they couldn't afford to hire more than twelve people as extras? Why move the movie up to 1966? So you could give the little sister a line about the Vietnam war protests? Why not 1963 and give her a line about the civil rights movement?As for the casting, some hits some misses. Jay O. Sanders hit the right notes for his character especially with his scenes with Josh Brolin. Brolin on the other hand miss a lot of the notes. He's believable as an ex-BMOC jock but he doesn't have the raw sensuality of William Holden. I always thought Brolin looks a little bit like a gorilla to have all the women in town go ape over him (pardon the pun). Gretchen Moll was lovely but she seemed a little too wise for the character she played. She didn't project the innocence or ignorance that the character required. Maybe it's because she and Brolin were about 5 years older than the characters should be. But then again Holden was ten years too old. Bonnie Bedelia was rather forgettable as the mother and Mary Steenburgen can't seem to make up her mind whether she was playing Blanche duBois or Katharine from "The Taming of The Shrew".As for Mr. Inge's play, I always felt that stories like this of a young woman choosing passion over practicality always needed an epilogue. "The Twilight Zone" I believe offer a likely epilogue with the episode, "Spur of the Moment" where a young Diana Hyland was being chased by a bitter older Diana Hyland, because the younger Diana Hyland chose to run off with a guy similar to Hal Carter.

Since I worked on PICNIC as LOCATIONS CREW, and saw the movie on T.V. myself and recorded it on VHS, I think personally that DIRECTOR, Ivan Passer did an Excellent job along with PRODUCER, Blue Andre in making the film. GRETCHEN MOL, CHAD MORGAN, BEN CASWELL, JOSH BROLIN and all other CAST and EXTRAS that were involved made an outstanding performance in this CLASSIC EPIC. WONDERFUL, PERFECT... JUST ONE MORE... P I C N I C !Larry Friedel (LOCATIONS)

The Czech director Ivan Passer is perhaps the most unfulfilled of great contemporary filmmakers. His masterpieces in America--BORN TO WIN and CUTTER'S WAY--were seen by almost no one, and I doubt he had much of an audience for this "Kraft Premier Movie," which belies Robert Altman's notorious remark about Kraft's television products--"as bland as their cheese." William Inge's study of stifled erotic yearning in a small town now takes on a mythic stature. But powerful as that mythos is, Passer doesn't turn the star-crossed leads (Gretchen Mol and Josh Brolin, both luminous) into statues. On the contrary, he just accretes amazing lyricism everywhere--it stacks up on the surface of the movie like so many barnacles. The ending is a blissful liftoff that may make you feel you're living in another time and place. Visually, the work may not be as distinguished as you might like, but in terms of intuitive rhapsodic skill, Passer is right up there with Altman. Somebody, anybody, get this man more work.