"When you think about it, you realize it's just movies. I just love this job. I couldn't ask for a better job. I'm so thrilled and so happy, but it's not Mother Teresa. It's not Peace Prize winning stuff. It's just movies - just for fun. Take it in stride." - Gwyneth Paltrow

This debut film from writer/director Matt Reeves (fresh out of film school) tries too damn hard to be the "The Graduate" of the 90's. Concentrating on a young man who becomes involved with an older woman as well as one of his peers, it also tries to verbalized the voice of the latest "lost" generation, the 20-somethings of the 90's. David Schwimmer of TV's "Friends" plays Tom Thompson with his usual "sad sack" gimmicks. He doesn't really break any new ground here. And because he is so recognizable, we almost don't notice how much he seems to emulate Dustin Hoffman in the aforementioned film. Schwimmer tries too hard too.

But the film has some interesting qualities in spite of this. The title, "The Pallbearer" says a lot about what happens here for in the film, Schwimmer's Thompson does more than act as a pallbearer at a funeral (that's just a comic set-up), he also grows as a person and, in the end, supposedly sheds the trapping of his youth. He comes of age and his old self dies. This happens to others in the film as well as one friend marries, another has a marital crisis, and both love interests try to move on with their lives. This is a film about growing and moving forward.

Reeves utilizes several interesting techniques here. One of the most startling is his use of silence. Reeves isn't afraid to let the film be devoid of sound completely at times. It has a startling impact. When he does utilize music, it is usually the excellent soundtrack score from Stewart Copeland (of The Police fame). Copeland's stark percussive tracks add a perfect compliment to the film and, because his film work has been so sporadic (was his last score for "Rumblefish?"), it adds a new dimension to the film. If only Reeves had as much success visually. The film usually does little to draw us in using optical devices. Reeves concentrates more on character and story.

Along with Schwimmer, the film features another popular young actress, Gwyneth Paltrow (of "seven"). She is a lovely romantic lead for a film. Paltrow has the ability to exude an innocent girl-next-door quality while slyly showing us flashes of her devastating beauty. She is both attractive and approachable. It is easy to like her. And here, she has a great character to bring lots of qualities unto. Paltrow really delivers.

As for the rest of the cast, two well-known actresses appear in small roles. Carol Kane plays Schwimmer's mother but we never believe she is old enough for the role. She has the sad fate of being the same character in everything she's ever been in and this is no exception. Conversely, Barbara Hershey is unrecognizable as the deceased boy's mother (for whom Schwimmer is a reluctant pallbearer). We spend the entire film wondering if it is Tuesday Weld we are watching. Hershey plays such an unusual role (no real surprise from her) and with such understated beauty that we are overwhelmed by her presence. This is really a great turn for an actress of her caliber who hasn't been seen for awhile. Hershey takes a role that could be campy, could be bitchy, could be silly - and gives it depth and clarity. When Schwimmer becomes involved with her, we understand why without question; Their characters need each other and, as actors, they have great chemistry together.

"The Pallbearer" has moments of sheer boredom but it ends up winning us over towards the ending. Reeves just needs a little more clarity in his script and a less familiar leading man on screen and he would have a winner here. As it stands, the film is a nice debut that leaves us hopeful for his next outing.

Note:

Script by Reeves and Jason Katmis. Director of Photography is Robert Elswit.

Paltrow is the daughter of actress Blythe Danner and TV producer Bruce Paltrow.

Mike Nichols (the director of "The Graduate") is thanked in the end credits.

Review written in 1996

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