# Music of the Heart (1999)

### reviewed by
Edward Johnson-Ott

Music of the Heart (1999) Meryl Streep, Aidan Quinn, Gloria Estefan, Angela Bassett, Jane Leeves, Cloris Leachman, Kieran Culkin, Charlie Hofheimer, Jay O. Sanders, Josh Pais, Olga Merediz, Michael Angarano, Jade Yorker, Eva Loomis, Justin Spaulding, Dominic Walters, Jean Luke Figueroa, with appearances from Isaac Stern, Itzhak Perlman, Arnold Steinhardt, Mark O'Connor, Michael Tree, Diane Monroe, Karen Briggs, Charles Veal, Jr. and Joshua Bell. Screenplay by Pamela Gray, inspired by the documentary "Small Wonders," based on the life story of Roberta Guaspari. Directed by Wes Craven. 124 minutes.

Rated PG, 2.5 stars (out of five stars)

    Review by Ed Johnson-Ott, NUVO Newsweekly
    www.nuvo-online.com
    Archive reviews at
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    TO: Wes Craven

    FROM: Ed Johnson-Ott

    RE: Music of the Heart

Congratulations on the new film, Wes. After a long career as a horror director, I can certainly understand why you wanted to break into the mainstream. With "Music of the Heart," you've certainly done so. In fact, this inspirational story, starring Meryl Streep as a middle-class woman who brings the joy of music to inner-city kids, is about as mainstream as you can get. I do have a few questions about the production, though, and hope you'll bear with me.

I realize how frustrating it was to be locked into the horror genre. You were never given the respect you deserve, despite being one of the greats. You wrote and directed the original "A Nightmare on Elm Street," only to see the studio take your creation and crank out a series of increasingly shoddy sequels. You did a hell of a job directing "The Serpent and the Rainbow" (that scene with the wicked government man approaching a strapped-down Bill Pullman with a hammer and a long nail… Yikes!), but the film didn't appear to open any new doors for you. Even with the incredible success of the "Scream" franchise, you were still perceived by some as just another guy who makes scary movies. The money and respectability of mainstream films must have been incredibly tempting, but I wonder what drew you to this particular project.

I know that you were moved by the true-life saga of Roberta Guaspari, a mother of two from New York's suburbs who started teaching violin to kids in Harlem after her husband left her. Her story is moving and dramatic, especially when, after a decade of service, funding cuts threaten to end her music program, but…

Wes, what I'm getting at is this. Why make a big, glossy Hollywood movie of this story? The 1996 documentary, "Small Wonders," already captured the magic of Roberta and her devoted students. The violin playing was wonderful and the Carnegie Hall concert footage stunning. With an Academy Award nominated feature already available to the public, why recreate it with actors? I realize that many people would rather have a root canal than watch a documentary, but did you really think a fictionalized account would pack as much punch as the real thing?

Frankly, if your intent was to share insights about Roberta Guaspari, it didn't work very well. Yes, we understand how shaken she was when her husband ditched her; that was obvious. Roberta comes off determined and obsessive, but what really makes her tick? Her young sons seem fiercely devoted to mom, but when the film abruptly jumps ahead ten years, her oldest boy is surly and resentful, complaining about virtually every aspect of her parenting skills. Then, almost as suddenly, he does a complete behavioral turnaround and is all smiles again. What was up with that?

And why the formulaic story treatment? Come on, man, a lot of this movie plays like something from the Lifetime Channel. You incorporate virtually every cliché in the book, including a reaction shot from a dog, for God's sake! Many characters seem to exist solely as props for Roberta, like the Afro-Centric mother whose fiery rhetoric is snuffed out by one Arthur Ashe reference from Roberta. Too easy, Wes. And was it really necessary to throw in that nasty music department character? Not only was the actor over the top, but his presence seemed totally unnecessary.

Now, I know Madonna was originally cast in the role of Roberta, but left because of "creative differences." Exactly what were those creative differences? Did you finally see her in "Shanghai Surprise?" Speaking of casting, why hire Gloria Estefan and the wonderful Angela Bassett and then barely use them? Such a waste of talent.

Of course, some of the casting worked out well. Meryl Steep turns in a fine performance, although her mannerisms are awfully reminiscent of her character in "The Bridges of Madison County." As Roberta's potential love interest, Aidan Quinn is more lifelike than usual. I loved seeing Cloris Leachman back on the screen, even though her character is another cliché, and young Michael Angarano is terrific playing Nick as a boy.

Forgive me if it seems like I'm damning the movie with faint praise, but I expected more sparks and less convention from a man as talented as you. There were exhilarating moments, like the shots of various children learning self-esteem from the discipline of playing the violin, and the concert sequence is electric, even though it also seemed a little too slick. More interaction between the violin masters and the students might have helped. Incidentally, was one of the characters sporting Freddy Krueger's hat? If so, nice touch!

Hopefully, on your next mainstream film, you'll feel comfortable enough to take more chances. In the meantime, I'll rent "Small Wonders" and watch the real thing instead of this movie-of-the-week version. One final request, Wes. Would you track down the Miramax executive who changed the title of the film from "Fifty Violins" to the sappy "Music of the Heart" and kick his ass for me? Thanks, buddy.

    © 1999 Ed Johnson-Ott

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