The premise portends drama that's going to be less than fun, and as soon as we meet Carl and see what a brute he is - well, hypothesis proven. At the same time, the film strikes a weirdly playful tone at some points, especially in the character of Rick. Not least of all as it shifts between moods, the movie is a bit ham-handed in some scenes, to enough of an extent that without knowing any better, it'd be easy to think 'Melanie' is a made-for-TV movie. Even putting that aside, the picture is rough around the edges - the plot is whole, but still seems slightly unfocused where it expands away from the core question of custody; the romantic elements definitely feel a little forced.
If one can overlook the indelicacies, however, at its core this is really a very good picture. Rex Bromfield's direction doesn't strike me as particularly notable, but it's highly competent - and he does a great job of vividly realizing the screenplay, which I think is pretty fantastic. The narrative is compelling, and the scene writing is actually very strong, and impactful - more than I could have expected. The dialogue comes across as real and believable - and perhaps above all, as the story is largely character-driven, the roles are written with a gratifying measure of depth and personality. Even in moments that feel a little cheesy, there's a wonderful earnestness and moving sincerity to 'Melanie' in telling the tale of a woman doing her utmost to be reunited with her son. It would have been very easy for the film to dip into Lifetime-style melodrama. Yet while there are keenly dramatic instances, especially at the climax, instead the feature remains smartly centered on the protagonist and her astonishing growth, and the friends that help her.
With that - I love the cast. Don Johnson embraces a duly unlikable cocksure menace as Carl with a completeness that I appreciate, ensuring that his presence is known despite having not a lot of screen time. Though not true, the part of Walter that Paul Sorvino plays seems more dynamic than what I'm used to seeing from him (maybe because I readily picture him as stodgy Sergeant Cerreta in 'Law & Order'), and Sorvino is sweetly warm in his portrayal. Meanwhile, it's a joy to watch Burton Cummings depict boisterous, down-on-his-luck Rick - I'm certainly familiar with Cummings' days with The Guess Who, but it's a swell surprise to learn he can act, too! The singer-songwriter sells his role with delightful nuance, and no small amount of pep, making me all the more happy to have discovered this film. Yet that goes doubly for Glynnis O'Connor as the title character, delivering so outstanding a performance that I can't believe she hasn't come to my attention before now. O'Connor demonstrates admirable range, poise, and strength of personality in capturing Melanie's plight and determination - and really, I kind of think she makes the movie worth watching all by herself, nevermind the rest of it. With every step that Melanie takes toward self-improvement on the road to gaining custody, O'Connor impresses by fully embodying the mother, and it's just lovely to see as a moviegoer.
Sometimes kitschy, and more predominantly alternating between scenes and tones distressing, galvanizing, and heartwarming - 'Melanie' is, at all times, pleasantly endearing. It's not perfect, but at that, I wonder if I'm nitpicking too much in my criticism as it is. There's no pretension here, no tricks or hooks - just genuine, honest storytelling, excellent writing, and terrific performances. Rounded out with fabulous, catchy music from Paul Zaza and Cummings himself, the film is absorbing, charming, satisfying, and rewarding. It's no searing time-honored classic or must-see social commentary - just one very, very good movie. There's little more to be said - I entered with no foreknowledge and mixed expectations, and walk away giving an enthusiastic recommendation: 'Melanie' is an ultimately feel-good drama well worth 100 minutes of your time.
If one can overlook the indelicacies, however, at its core this is really a very good picture. Rex Bromfield's direction doesn't strike me as particularly notable, but it's highly competent - and he does a great job of vividly realizing the screenplay, which I think is pretty fantastic. The narrative is compelling, and the scene writing is actually very strong, and impactful - more than I could have expected. The dialogue comes across as real and believable - and perhaps above all, as the story is largely character-driven, the roles are written with a gratifying measure of depth and personality. Even in moments that feel a little cheesy, there's a wonderful earnestness and moving sincerity to 'Melanie' in telling the tale of a woman doing her utmost to be reunited with her son. It would have been very easy for the film to dip into Lifetime-style melodrama. Yet while there are keenly dramatic instances, especially at the climax, instead the feature remains smartly centered on the protagonist and her astonishing growth, and the friends that help her.
With that - I love the cast. Don Johnson embraces a duly unlikable cocksure menace as Carl with a completeness that I appreciate, ensuring that his presence is known despite having not a lot of screen time. Though not true, the part of Walter that Paul Sorvino plays seems more dynamic than what I'm used to seeing from him (maybe because I readily picture him as stodgy Sergeant Cerreta in 'Law & Order'), and Sorvino is sweetly warm in his portrayal. Meanwhile, it's a joy to watch Burton Cummings depict boisterous, down-on-his-luck Rick - I'm certainly familiar with Cummings' days with The Guess Who, but it's a swell surprise to learn he can act, too! The singer-songwriter sells his role with delightful nuance, and no small amount of pep, making me all the more happy to have discovered this film. Yet that goes doubly for Glynnis O'Connor as the title character, delivering so outstanding a performance that I can't believe she hasn't come to my attention before now. O'Connor demonstrates admirable range, poise, and strength of personality in capturing Melanie's plight and determination - and really, I kind of think she makes the movie worth watching all by herself, nevermind the rest of it. With every step that Melanie takes toward self-improvement on the road to gaining custody, O'Connor impresses by fully embodying the mother, and it's just lovely to see as a moviegoer.
Sometimes kitschy, and more predominantly alternating between scenes and tones distressing, galvanizing, and heartwarming - 'Melanie' is, at all times, pleasantly endearing. It's not perfect, but at that, I wonder if I'm nitpicking too much in my criticism as it is. There's no pretension here, no tricks or hooks - just genuine, honest storytelling, excellent writing, and terrific performances. Rounded out with fabulous, catchy music from Paul Zaza and Cummings himself, the film is absorbing, charming, satisfying, and rewarding. It's no searing time-honored classic or must-see social commentary - just one very, very good movie. There's little more to be said - I entered with no foreknowledge and mixed expectations, and walk away giving an enthusiastic recommendation: 'Melanie' is an ultimately feel-good drama well worth 100 minutes of your time.