I'm curious to what extent Scorcese and Schoonmaker were influenced by James L. Brooks -- I can see in TERMS and in BROADCAST NEWS their mid-era GOODFELLAS style of pacing, condensing of time, fragmented moments that nevertheless stand as full short films in themselves. That team's films, along with those two films by Brooks, stand as some of the sharpest, most well-paced American films ever made.
Reading some of the comments here, it seems that many people are very harsh on this movie. Personally speaking, I loved it. The story was engaging and I loved how it navigated successfully between drama and comedy and how Brooks avoided turning the characterds into caricatures and instead took time to develop them as likeable but ultimately flawed people. The acting is brilliant, Winger and MacLaine in particular.
When this came out dramadies were less box office prevalent than they've been in recent decades, therefore it was a bit novel when it was released. TOE is well-scripted and candid about some then-taboo topics (cancer, infidelity, aging) and the cast do their jobs with aplomb - perhaps then a great film for the time. But times have changed and ouch that wretched score.
Un filme que de hecho apunta al drama gratuito, pero que a pesar no subestima al espectador. Es ese carisma de los actores (McClein y Nicholson) pero sobre todo ese tratamiento entre los personajes. Hay una química de amor odio que siempre ronda en estos. Es la madre a la hija, la madre al vecino, la hija al esposo, la hija al hijo. Es como una cadena que se hereda o se contagia. Son personajes temerosos.
Garrett shows up at the hotel, looks up and says simply "Aurora", he climbs the stairs to her, and she finally allows herself to weep for her dying daughter, I bawled like a baby. Schmaltz and all, this is one of my favorite films. Extraordinary talent created relationships that were totally honest. MacLaine and Nicholson are perfection together; the comedy is as good as the drama. I love Brooks' writing.