Ah! A life of Anne Deveraux, the mother of perennially perma-tanned charmer and Hollywood glad-hander George Hamilton embodied by an eternally squint-eyed, purse-mouthed Renee Zellweger: how many petitions were issued, how many signatures were signed, how many producers were required to bring this 1953-set, I mean, pre-“Mad Men”-era road-trip-cum-romantic fantasy about a mom and her two teenage sons to the screen? (In the case of producers, the answer is eleven credited, “in association with Merv Griffin Entertainment and George Hamilton Entertainment.”) There are laughs and small, neat jokes about the young Hamilton who hopes to be a non-phony post-“Catcher In The Rye” writer, but the family’s general progress west plays soddenly, a failed soufflé, un-screwball with modest energy; Rex Reed kvelled. From Richard Loncraine, director of “Brimstone and Treacle” and “Wimbledon,” and written by Charlie Peters, the screenwriter of “Blame It On Rio” and “Hot To Trot.” The music is by Mark Isham, who did some cool Alan Rudolph scores in the day. With Kevin Bacon, David Koechner, Eric McCormack, Nick Stahl, Steven Weber and Chris Noth as “Dr. Harlan Williams.” 118m. Anamorphic 2.40 widescreen. (Ray Pride)
Ray Pride is Newcity’s film critic and a contributing editor to Filmmaker magazine.
His history of Chicago “Ghost Signs” in words and images will be published in Spring 2022.