My Own Love Song

Writer and director Olivier Dahan may have had sincere intentions behind making 'My Own Love Song' but the problem with the film is that it does not have much to offer in terms of novelty and it relies on several clichés. With the exception of Zellweger's Jane, the characters are either clichés or one-dimensional. Moreover, the film is overly sentimental at times. While I enjoy road movies very much, 'My Own Love Song' does capture the beauty of the American landscape. The camera-work is very good. I enjoyed the animated bird sequence but otherwise it was completely out of place. Renee Zellwegger does an excellent job in portraying Jane Wyatt, a wheelchair-ridden former rockstar who's estranged from her son. In addition, Zellweger proves once again that she can sing beautifully. Forest Whitaker tries the best he could with a poorly written Joey but the actor is unable to do anything new with this character. Yet, I enjoyed most of his scenes with Zellweger. Madeline Zima's Bilie lacks development. Nick Nolte stands out in a small role. Overall, 'My Own Love Song' isn't a bad watch by any means, it just doesn't have anything new to offer.

I saw a preview for this film in Paris in the presence of both the director (Olivier Dahan, who is French) and Forest Whitaker. The director described it as simple and happy while Forest mentioned magic. They were both right. The film was beautiful. The whole room seemed completely taken in. Renee Zellweger was great and managed to make a number of the audience cry in her role as an ex-singer confined to a wheel chair. Forest Whitaker was fantastic as was Madeline Zima who I had not seen much previously and was very impressed by. The story was simple but moving and the pictures magical. There are a couple of brilliant characters that they meet on their travels too who lighten up what could have been a rather intense movie. I definitely recommend this film.

I saw this via Netflix streaming video. Written and edited by the Frenchman who directed the superb "Edith Piaf" story (La Mome') it is set in the USA, filmed in various parts of Louisiana, and ends up in New Orleans.

The story centers on the story of Renée Zellweger as Jane Wyatt, one time recording artist who, 7 years earlier, had become crippled and wheelchair bound as a result of an automobile accident. So she pretty much put her life on hold.

Seemingly her best friend in the small Kansas town is Forest Whitaker as the somewhat kooky Joey, who has visions of angels. He goes off the deep end occasionally, often uses poor judgment in certain situations, but jokingly calls himself "Jane's body guard." He in fact does help her out at times.

One day Joey finds an unopened letter in Jane's house, it is from her now 10-yr-old son, living in Baton Rouge, inviting her to his communion in July. Joey doesn't tell her about the letter, instead puts it in his pocket and sets about to get Jane to take a road trip, he wants her to see her son.

The road trip does have its share of pitfalls, the first being their car burns up. Literally. At a motel along comes Elias Koteas as Dean, who sells them a car for $500, and it works fine, but the next morning they awake to find it gone. Dean has cheated them.

Then comes young Madeline Zima as Billie, whose young husband just seemed to take off, so she joins them in the road trip.

At one stopping point they need a place to crash, hear music, and go to find Nick Nolte as Caldwell, playing a guitar. He joins in for the road trip.

Describing it in my feeble manner in no way does justice to the movie. It is very different, often touching, and very well acted.

This movie is part of the "nouvelle vague" in cinema, a more evolved and profound cinema, with deep undergrounds of humanity and courage, with tranquility of sharing and understanding. The analogy with the Wizard of Oz is obvious, since that is where this movie got its roots: three people experiencing different kinds of losses, two of them from Kansas, on a trip to discover the answers they long for - answers they will eventually find in themselves.

The director does some terrific job, no matter what they say; he takes all kinds of risks, uses unconventional tools up to the point where a less circumspect and more neophyte viewer would lose track, leaning on extraordinary performances from all actors. The characters are simple, yet sophisticated.

For the simple-minded, this movie does not mean much - it's just a road movie with sparkles of unconscious and sentimental movements. Those movements though are instruments of one's true self, as authentic and pathetic and sparkling as any true self is.

Way to go for la nouvelle vague!

French director Dahan's first film set in post-Katrina Louisiiana and shot in English is a rambling, overly sentimental road picture about two damaged individuals who go on a quest. Zellwegger's paralyzed from a car accident seven years ago, when she met Whitaker in the hospital. He was there for mental problems. He still thinks he hears the voices of angels. They go off in an old Seventies car (which is later stolen) to see the author of a bestselling books on angels, and Whittiker's character wants to take Zellwegger to the birthday party of her little boy, who was adopted by a rich family when her injuries and poverty made her unable to raise him.

On the way they meet a run-down singer (Nick Nolte), something like Jeff Bridges' character in CRAZY HEART except that he only plays the guitar and has sunk so low he can only get gigs at an old hotel and that only if he brings a singer. So he persuades an unwilling Zellweger to come along and perform. There and at her son's birthday Zellwegger gives surprisingly powerful, earnest performances of two songs -- both written by Bob Dylan for this film. The colorful southern atmosphere and the Dylan compositions (which include his own very Tom-Waits-esquire performances on the soundtrack) may be the main reason for watching this otherwise weak effort. It would work better if Whitaker didn't give one of his most mannered performances and if the two principals were not written in as such hopeless losers. Poor critical rating in France: Allociné 1.2 (26). An error of taste, however well-meaning; the director is out of his element. Some will enjoy the music and the settings but this is at best an interesting failure despite the name cast.