peripatitis-33392 Some films are like that. It is not as if this is a masterpiece but perhaps there is some truth within the film, the acting or the relationships between the actors? Who knows.. But i do feel that films that one can revisit, even if there is nothing new to see but somehow touch you deserve a lot more than an 6.8.

Dalbert Pringle You know, this picture really should have been titled "That Fabulous Pfeiffer Gal" - 'Cause, believe me - When it came to the likes of Jeff & Beau Bridges - "The Fabulous Baker Boys" it clearly wasn't. Well, it wasn't.Set in the rainy city of Seattle, brothers Frank and Jack Baker are a pair of stale, small-time piano players. These 2 losers have been a pathetic musical duo, working the small club circuit for about 15 years. I mean, hey, it's 1989 and, like, these 2 morons are still playing crap like "Little Green Apples" and "Feelings" (retch) with about as much enthusiasm as you could possibly muster from 2 guys who quite obviously hated each other's guts to the max.Deciding to (finally) get hip with the times, the (un-fabulous) Baker boys make, what probably turns out to be, the first intelligent decision that they've ever made in the entirety of their dismal careers - And that decision is to add a female vocalist to their tired and talentless, little team.From this point onwards in the story it was clearly the impressive singing dynamics of Pfeiffer's "Susie Diamond" character, along with her great looks (when added to the Baker Boy troupe) that turns this faltering duo's success right around, literally, into an overnight lounge-circuit sensation.All-in-all - The only reason to watch this sub-par comedy would be for Michelle Pfeiffer, and for Michelle Pfeiffer alone.

Alex Deleon BERLIN 66 Reviews by Alex. Panorama. image1.jpeg "The Fabulous Baker Boys" 1989, by first time director Steve Kloves who later made the Harry Potter films. Seen as part of a retrospective of the films of famed Berlin born DOP, Michael Ballhaus, Now 82, who gets a Silver Bear this year for his life's work as a dependable Hollywood cinematographer who worked with many top directors. This however isn't one of the.Film features the real life brothers Beau and Jeff Bridges as two fictional Brothers, Frank and Jack Baker, who are not particularly fabulous but play dual back-to-back jazzy piano gigs at cheap night spots in Seattle. Whe the jobs get slim they decide that they need a female singer to liven up their fading act. After many hopeless auditions guess who turns up -- an incredibly scruffed down Michelle Pfeiffer who happens to have a knockout voice like a white Billie Holiday and a very come hither stage presentation. Her dynamic style injects new life into the Baker Boys act with a highlight reached when she drapes herself all over Jeff's grand piano as if copulating with the instrument during a sensational singing number -- "Making Whoopee" -- the memorable high point of a fundamentally forgettable picture.Unfortunately, for the rest of the film, although she has become pianist Jeff Bridges' lover and there are extended groping and snuggling scenes between them -- there is, oddly enough, no screen Chemistry between them -- zilch -- and the film dies a slow death from there. Whether it was the direction or some kind of real disattraction is hard to say, but despite the fact that both Jeff and Michele are at the height of their early screen attractiveness what one sees on screen is sheer mechanical sham. One device overly used in the Film is Jeff constantly with a lit cigarette in his mouth as if he were supposed to be Bogart in Casablanca or Gainsbourg in Paris. It just doesn't fit his look or personality and everything else in the picture including Pfeiffer's overdone raggedness is out of kilter. Even the Ballhaus cinematography is nothing to write home about. The brothers end up hassling each other heavily for no good dramatic reason and in the end Bridges rejects Pfeiffer, or was it the other way around? Anyway, she walks off into driftlessness as the picture finally ends. I normally like Bridges movies but this was a surprising disappointment from every angle considering the promising cast. One down and many more to go in a packed festival week.

Andy (film-critic) In this tired tale, two brothers – semi-content with playing a lounge or two here or there – living in the past, consider the option of bringing a female singer into the act. One is the organizer, one is the chain-smoking wild-card that continually impresses the ladies, yet has a stronger passion for the keys. It won't take a rocket scientist to realize which is which based on mere talent alone. Throw into the mix a husky female singer, a mistaken love, and chaos between a seemingly stable piano act. As our film winds down, cliché over recycled cliché is used to tear these brothers apart, and slowly bring them back together – in an awkward way. While the film boasts collaboration between two of Hollywood's biggest brothers (one a recent Oscar winner), great piano music, and the quintessential red-dress-on-piano scene, what this film actually delivers is merely a tired script, an overused plot devise, and lines that could have been promoted by anyone with an Acting 101 degree. While the concept seems dramatic, the final result of this feature (despite the numerous awards) felt disappointing. Brotherly love destroyed by inevitable change? There were a couple of small elements to this film that worked, ensuring that "The Fabulous Baker Boys" was more than just a one-star movie. Bridges, muscled down by the day-to-day life of being a piano player, is watchable. His apathy towards all situations coupled with his "Joe Cool" smoking-attitude, creates the correct amount of tension with unknown to keep the plot slowly moving in the right direction. Beau, the weaker big-screen actor (better able to manage the television roles), tries to keep up, but what tries to be anger ends up just being a man with big eyes and anger-spit. But, on with the positives…the Bridges' music was, for lack of a better word, fabulous. Without making the guess if it was them playing, the tone of each of the songs respectively worked in their scenes. Along with the music, the visions of LA worked to show that in a city that never sleeps, these two brothers will always have work. Keep the drinks flowing, and you are sure to be a crowd pleaser.With some slight parts to make you enjoy the hour and a half of a band's destruction, the rest just crumbled quickly. To begin, while the pairing of Beau and Jeff seemed powerful on paper, the screen told otherwise. Absolutely, the two were able to play their respective roles well – Jeff the darkened, smoking, looming brother – while Beau played the optimist, looking to keep his dream (or business) alive. The issue with the Bridges' is that they are too far apart. There is never a scene to show their chemistry together as amazing pianists. Instead, we see through posters that at once they were happy, but those days are long gone. We begin our film on a downtrodden note, and it never quite picks itself up from that even when the brothers seem to be back on top again. Director Steve Kloves never gives us, the audience, an opportunity to cheer for Jeff and Beau's happiness. Instead, we are forced to suffer right along with them, picking ourselves up after each depressing hour. The same can be said for Pfeiffer, and while Oscar-nomination, Golden Globe-winning, still means something – her portrayal of Susie Diamond just wasn't breakthrough enough to be remembered after 1990. The prostitute-turned-singer routine has been done in Hollywood, over and over and over; and not to sound repetitive, better. Pfeiffer's husky voice (at times in tune, at times not), and butch demeanor, did create a sex-symbol, but instead another tragic character. While I agree, the story isn't conducive to happiness; somebody should have considered it as an opportunity to see these characters differently. It would have added a new layer to their characters, allowing for a stronger emotional punch at the end.As our characters floundered through their roles, playing piano and off-beat singing, the story was another part that just fell short – forcing our characters to have mixed material to work with and missed character opportunity. "The Fabulous Baker Boys" as a film doesn't work, as a television mini-series perhaps it would have been better. There is too much left on the table from writer-director Kloves that nothing evolves. Scenes like upstairs neighbor of Jeff's that is like his mother, busting the dog out of the vet, smelling bathroom equipment, and destroying memorabilia, look good on paper, but without the correct backing just doesn't feel finished. That is the overall feel with "Baker Boys", a sense that scenes, moments, and plot-points went unfinished. Kloves isn't the best in handling the talent he has hired. From leaving cameramen in shots to overusing the piano music, Kloves believes in his work (there is no argument there), but his execution is fallible. Why would you use piano music as your theme music when the Bridges are playing piano music as well? This was horrible. With strong keys being played by the brothers, the cheesy background music just diluted the overall feel. It is the perfect example of having authentic reality and a cheap knock-off. With lacking characters, it would be up to Kloves to cover the differences, but he can't control what is happening. His camera direction, musical focus, and story have too many flawed plot holes that instead of a creative story, we are left with a sad overused cliché. I would agree that these boys are "Fabulous", but Kloves couldn't prove it. His scientific directional equation remains a hypothesis.Overall, I wasn't a fan of this film. Our mood, music, and plot points were all misused and poorly developed. Our story, cliché after cliché, didn't feel original or exciting. There needed to be some brightness at the end of our tunnel, but nobody could demonstrate this. It was corrosive and disappointing.Grade: * ½ out of *****