James L. Brooks
Terms Of Endearment

For many, the name James L. Brooks will immediately bring to mind one association, and it’s correct; he is indeed the executive producer of the cartoon series "The Simpsons." However, Brooks is a long-time director and screenwriter who boasts, in his albeit limited production, at least two cult and very interesting films. One is "As Good as It Gets," a 1997 gem with Jack Nicholson and Helen Hunt, and the other is "Terms of Endearment" from 1983. This review is about the latter.

Brooks brings to the screen "Terms of Endearment," a 1975 novel by Larry McMurtry, an intense story that recounts the lives of two women, mother and daughter, over thirty years of clashes, unexpected happiness, joyful moments, and unbearable sorrows. Don’t be misled by the title; "Terms of Endearment" is not a sentimental film that falls into the sappy. On the contrary, it is a film that deals with emotional relationships with a discreet and respectful look towards the characters and the audience, managing to fully convey the difficulties of life without too much rhetoric. In the end, it leaves the viewer touched by the events of Aurora (SHIRLEY MACLAINE) and Emma (DEBRA WINGER) but not shocked or depressed; the director doesn’t aim to draw tears at all costs and does so by trying to use normal, non-emphatic dialogues. He illustrates common situations of suffering without exploiting them, which is appreciated by the audience who remain engaged by the story but not overwhelmed.

It is a dramatic story, but the real drama is concentrated only in the last part of the film. Earlier, the tones are different, and for much of its length, "Terms of Endearment" is a fresh and intriguing comedy with very comedic moments, because the two lives of Aurora and Emma are very different. This apparently insurmountable diversity provides numerous ironic cues perfectly inserted into the overall narrative context. Maclaine and Winger are protagonists of splendid duets, gently and successfully portraying phone quarrels and furious fights while always letting the complicity that binds them shine through. Aurora's character is truly beautiful, a woman who has passed fifty, widowed too soon, and despite being much courted, has no intention of yielding to suitors. It will be the irrepressible neighbor (Jack Nicholson), a former astronaut too weak against alcohol and young girls, who makes her change her mind. Maclaine is perfect in the role, showcasing all her talent, from a rich, snobby woman with a sharp sense of humor to a lover much freer, to a woman crushed in spirit by a pain too great to bear alone.

Brooks' direction is fluid and keeps all parts of the story connected, managing to give rhythm to the film and not make the two-hour runtime feel heavy. It’s an overall very good package with a simple, functional background soundtrack, a talented and well-chosen cast, with splendid performances by Nicholson and Maclaine (both of whom will win Oscars), and excellent performances by Winger and Jeff Daniels in the role of the husband. In total, five Oscars: direction, non-original screenplay, best film, and the already mentioned ones for the actors. A very beautiful film that surprised me and one that I recommend, also because the Nicholson-Maclaine duo is perfect.