Al Pacino

Chris O'Donnell

James Rebhorn

Gabrielle Anwar

Philip Seymour Hoffman

Richard Venture

Bradley Whitford

Ron Eldard

Rochelle Oliver

Margaret Eginton

Tom Riis Farrell

Nicholas Sadler

Todd Louiso

Matt Smith

Gene Canfield

Frances Conroy

June Squibb

Sally Murphy

Michael Santoro

Anh Duong

Leonard Gaines

David Lansbury

Baxter Harris

Francie Swift

Michael Simon

Mansoor Najee-Ullah

Peter Carew

Paul Stocker

Divina Cook

William Beckwith

Dan Gifford

Jack Mulcahy

Joseph Palmas

J.T. Cromwell

Mike Lisenco

Russell Gibson

Carlo Giuliano

George Grafas

Luke L. Hansen

Eric Reid Schroeder

Lucy Smith

Paul Zimmerman

Stephen L'Heureux

Alyson Feldman

Erika Feldman

Julian Stein

Max Stein

Bo Goldman

Thomas Newman

Martin Brest

Ruggero Maccari

Ronald L. Schwary

William Steinkamp

Michael Tronick

Giovanni Arpino

Dino Risi

Harvey Rosenstock

Donald E. Thorin

Al Goto

Tom Elliott

W. Steven Graham

William C. Carruth

José Padilla

Ken Blackwell

Susan Alexander

Susan Graef

Peter McKernan

Timothy Alberts

Michael T. Wilson

Ellen Lewis

Aude Bronson-Howard

Joseph Coscia

Angelo P. Graham

James P. Whalen

David C. Robinson

Robert Laden

Amy Sayres

G. Mac Brown

Doreen A. Dixon

Danny Aiello III

Gino Lucci

Myles Aronowitz

George DeTitta Jr.

Richard Curry

Jerry Mitchell

Jerry DeBlau

Ken Ferris

Don Pulford

Moshe Bardach

Harriette Kanew

Andrew D. Cooke

Jillian C. Flynn

John Rath

Wayne Fitzgerald

Julie Madison

Gary J. Wayton

Drama

Comedy

Scent of a Woman

Universal Pictures

City Light Films

United States of America

English

Peter McGinn

Another one of those movies that I watched after it first was released but have only recently watched again. I must say I probably thought more of it some 30 years ago. Nothing against the actors. I think they all did a credible job. I just think two and a half hours was too long to spend with the Colonel (oops, sorry, Lieutenant Colonel).

Even Slade himself admits that he has always been a screw-up, and it seems since the incident that led to his blindness he has gotten much worse, and suicidal to boot. Fair enough, at times he did seem to be a waste of skin, so suicide was a viable option. 

Lt. Colonel Frank Slade can be casually  insulting or verbally abusive to any person that enters his orbit: friend or foe, family or stranger, it doesn’t matter. And he can be physically abusive for provocations that we mere mortals learn to swallow in silence or with some modicum of class. Yes, that is his style, but wait. That applies to men only, it seems. With women, whom he magically knows are attractive by their smell despite his blindness, he is courtly, charming, respectful with only occasional lapses of lewdness.

So if he can be a normal human with attractive women, what is his problem with everyone else? Well, of course it doesn’t matter, because he is larger than life and the centerpiece of the movie. All of his moods and actions lead up to a speech he delivers at the end of the film, words that prove he is the hero of the movie. I would like to think that his time spent with Charlie was transformative for him and led to real character growth, but really, I don’t think that anything short of miraculously regaining his sight would have achieved that happy result.

CinemaSerf

"Charlie" (Chris O'Donnell) is a hard-up student at the posh Baird prep. school where his bursary-funded status sees him looked down upon by many of his fellow, silver-spooned, colleagues. Their rather pompous principal "Trask" (James Rebhorn) is the victim of a rather messy and humiliating prank, and convinced that "Charlie" and his rather spineless pal "George" (Philip Seymour Hoffman) know whodunit, he decides to convene a meeting of the entire school to force confessions from the boys. Meantime, and always hard up for cash, "Charlie" is offered a job babysitting a blind man. Boy, is he in for a shock! His introduction to "Lt. Col. Slade" (Al Pacino) certainly opens his eyes. This man is a bully, not really any other word for it. He lost his sight fighting for his country, and initially appears as little better than an intolerant and foul-mouthed thug with quite a superiority complex and a penchant for bourbon. "Slade" and his new helper are destined for a luxury trip to New York for Thanksgiving. First class flights, a suite in the Waldorf and a $28 burger turn the young man's head but no so much as the confession his employer makes as to the purpose of the trip. What now ensues does follow a rather predictable path, but it's really the two characterisations that shine here. Pacino has, arguably, the easier part to play. His being the stronger, more forceful role as the epitome of the obnoxious. It's O'Connell who has to tread on the eggshells as he must reconcile his need for the cash, his dread of what awaits him back at school and a growing interest in this man of contradictions. By going to extremes so often, "Charlie" (and the audience) are introduced to a man who has standards he feels are long gone. Loyalty, dignity and maybe most of all - integrity. It's those virtues that he hopes to see in his companion - but will he? We are treated to a well written and delivered tour-de-force from Pacino here in what I think is easily his most emotional and visceral performance, and O'Donnell works well as the shy, introspective foil with whom he fences on an increasingly less one-sided basis. A disastrous trip to his family for turkey lunch is tempered by one of the best performed tangos you're ever likely to see on screen - and I found 2½ hours just flew by in a compelling and enthralling fashion. New blood in old veins, or vice versa, or both?

Scent of a Woman

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