# Parent Trap, The (1998)

### reviewed by
James Sanford

Disney's release schedule of late brings to mind that old phrase about everything old being new again. In the past two years alone, we've been forced to sit through remakes of everything from ``101 Dalmatians'' to ``That Darn Cat.'' Now the powers that be have dusted off ``The Parent Trap,'' the fondly remembered 1961 Hayley Mills picture about identical twins who scheme to reunite their long-divorced parents. Talk about a risky idea: Mills fans generally hold ``The Parent Trap'' in the same esteem Shakespeare scholars reserve for ``Hamlet.''

But everyone can heave a collective sigh of relief. The 1998 ``Parent Trap'' proves to be a perfectly pleasant experience, thanks largely to newcomer Lindsay Lohan, who capably assumes a dual role as American-raised Hallie Parker and London-based Annie James. Lohan's got comic timing, a knack for effective imitation - her British accent sounds exactly like her screen mom Natasha Richardson - and she's cute without being cloying.

Not that her expert adult supporting cast doesn't more than carry its own weight. A robust-looking Dennis Quaid, as Hallie's vineyard-owning dad, and the radiant Richardson, as Annie's dress-designing mom, both bring surprising sparkle to their roles. You can tell from the start they belong together because of their stunning, matching smiles.

The gold-digging blonde obstacle on the road to reunion is assayed with just the right amounts of vinegar and saccharine by Elaine Hendrix, who poses like Sharon Stone and takes a pratfall like Lucille Ball. And the work of Lisa Ann Walter and Simon Kunz, as the household helpers who come to Hallie and Annie's aid? Completely endearing.

The story is just as absurd as it ever was, requiring the audience to believe that a divorcing couple would A) split up their twins, and B) move to opposite ends of the world to stay apart from each other and never inform the sisters about their past. But although ``Parent Trap'' gets off to a worrisome start with some wobbly summer camp scenes that clumsily set up the action, the film shifts into gear about half an hour in and cruises along pleasantly toward its expected happy ending.

    James Sanford

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