Fried Green Tomatoes at the Whistle Stop Cafe (Mary Stuart Masterson)

We wanted something reasonably light-weight to watch, and it had been nearly nine years since we saw ‘Fried Green Tomatoes at the Whistle-Stop Cafe’. We recalled liking it, but not much more, although I had, in the intervening years, read the book by Fannie Flagg on which the film was based.

It’s a dual-timeline story, set in Alabama in the Southern part of the United States. That meant that the accents were sometimes quite difficult to understand - but I got the general gist, and gradually attuned to the voices as the film progressed.

Evelyn Couch (Kathy Bates) is the character we meet first - she’s a middle-aged, overweight woman who eats compulsively, and is feeling rather unfulfilled in her marriage to the even more overweight Ed (Gailard Sartain). So she takes various classes in spicing up her marriage, or assertiveness - there’s some mild humour in these, but they’re not very successful. 

Evelyn and Ed regularly visit one of his aunts at a nursing home, but the aunt is bad-tempered and doesn’t want to see Eveyln. So she sits in the waiting room, and is approached by the elderly Ninny Threadgoode (brilliantly played by Jessica Tandy). Ninny wants to talk, and Evelyn is an eager listener.  So, over the course of several visits, the story is told.

It’s done with flashback scenes to the 1930s, and although we don’t see Ninny as a child - she married into the family - we meet Idgie (Mary Stuart Masterson), her youngest sister-in-law, who grew up as something of a rebel. She’s honest and likeable, but did everything to shock her parents and their pastor. She’s a strong character who carries a lot of anger, possibly due to a tragic accident which we see early in the film. 

Ninny’s story starts by telling Evelyn that Idgie was arrested for the murder of Frank Bennett.  But then she jumps back to Idgie’s childhood and teenage years, and how she and her friend Ruth started running a cafe which specialised in fried green tomatoes; apparently this is a traditional and much-loved Southern dish.  

There are many important issues covered in this film, one of the significant ones being the treatment of black people in the 1930s. Idgie and her family are not at all racist, but they do have black workers and servants, though they treat them as friends, and Idgie stands up for them at risk to herself, at times. The attitudes of some other white people, including a sheriff from another county, are horrendous, however.

There are also insights into a a very abusive marriage, and hints of a lesbian relationship, although it’s so lightly touched upon that it would be easy to miss. And through it all, Idgie’s assertive, strong actions, as described by Ninny, are an inspiration to Evelyn.  

The rating is 12 (PG-13 in the US), which I think is about right. It’s a good story, but there’s some bad language, and some violence, albeit mostly off-screen. There are some traumatic scenes, and some very unpleasant implications, too, which I’m trying not to think about even now. But there’s also some gentle humour, and a great deal of warmth in the characters, particularly in the growing friendship between the elderly Ninny and Evelyn. 

All in all, we were quite engrossed for the two hours of this film, and liked it very much indeed.  Definitely recommended.

Review copyright 2020 Sue's DVD Reviews

The Wife (Glenn Close)

I hadn’t heard of the film ‘The Wife’ until I spotted it on my husband’s wishlist earlier in the year. It looked good, so I ordered it for his recent birthday, and we watched it last night. I had no idea what to expect, but was quickly engrossed in the story.

Having said that, the opening scene almost put me off entirely. Joe Castleman (Jonathan Price) is a bearded writer, apparently in his 60s, though he looks older. He’s woken up in the night and is eating in the bedroom. He then gets into bed with his wife Joan (Glenn Close) and there’s an implied scene of intimacy; nothing shown explicitly, but plenty is implied. Not at all a good way to start a film. 

However it quickly improves. The couple are awakened - probably in the same night, though that isn’t clear - by a phone call. It’s someone from Sweden, telling Joe that he has won the Nobel Prize for literature. He thinks it might be a scam at first, but it’s entirely real. Before long he, Joan and their adult son David are on their way to Stockholm for the ceremony. 

It quickly becomes clear that Joe is not a  likeable person. He’s a philanderer, and he shows little interest in his son, who is also a writer. The two keep clashing, while Joan attempts to keep the peace.  To add to the impression of Joe as a rather selfish person, there are flashbacks to the late 1950s when he is a ‘professor’ (what we would call a lecturer in the UK) at an Ivy League university; the young, star-struck Joan (Annie Starke)  is one of his students. Harry Lloyd, who plays the young Joe, comes across as egotistical and sexist. He’s married, and has a baby daughter; yet he encourages Joan as she falls in love with him, and the two start an affair. 

The main part of the story is set in the 1990s when the couple have been married for thirty years and Joe has produced a vast number of novels. He appears to be unfailingly generous in the way he thanks his wife for looking after him, and insists that she is the love of his life. And yet this continual praise falls rather flat, partly due to his known infidelities over the years, and partly because it somehow doesn’t ring true. Joan evidently doesn’t like it, and it’s not that she’s a shy, retiring kind of person. She is elegant, supportive, and mostly very loving…

It’s a study in character, and also revealing about attitudes. I hadn’t realised that, even in the late 1950s, it was difficult for women to be published. Those early scenes are very well done, contrasting with the later ones. Of course even the modern ones seem a bit dated; the cars are old-fashioned, and people still used telephones with wires rather than mobile phones. But for those touches, however, the story could almost have been current.  

And while Jonathan Price is good, and Max Irons as the moody, often angry David is also good, it’s Glenn Close, as the eponymous wife, who steals the show. She’s elegant, organised and a peacekeeper, staying with a rather unlikeable husband. At least, until things come to a head in Stockholm.  I believed in her, totally. The actress was 70 when this film was made, but looked no more than about 50. 

Christian Slater deserves a mention too, playing the rather sleazy Nathanial, a reporter who wants to write Joe’s biography, and who keeps trying to get snippets of juicy information. I didn’t trust him, but even he has a likeable side. And he’s the catalyst for some high drama and revelations towards the end. 

There’s some mild humour in the film; we smiled a few times, and it was good to have a little light-heartedness in what was overall a surprisingly intense and moving story. 

Brilliantly made, other than that rather trite opening scene; my only minor gripe is the immense amount of ‘strong’ language, which is what has raised the rating of this to 15 in the UK, R in the stricter ratings of the United States. An occasional instance in context is understandable, but it seemed excessive in this film. The story is unlikely to be of interest to children or younger teens anyway.  

Very highly recommended.

There's a 'making of...' extra on the DVD edition we have, with some short interviews and snippets with various actors and production staff. Reasonably interesting, but nothing special.

Review copyright 2020 Sue's DVD Reviews