Nobody's Fool

Paul Newman is "Nobody's Fool" in this 1994 film also starring Jessica Tandy, Bruce Willis, Melanie Griffith, Dylan Walsh and Philip Seymour Hoffman. Newman magnificently portrays Sully, a 60-year-old man living in a small town in upstate New York. He has a bad knee; he's suing his boss, the hard living Carl Roebuck (Bruce Willis) for back wages; he flirts with the boss' wife Toby (Melanie Griffith); he rents from his old school teacher Beryl Peoples (Jessica Tandy) who depends on him; he plays poker and drinks at the local bar; and he plays the Trifecta every day. When his son Peter (Dylan Walsh) comes to town, Sully has to come face to face with the man he abandoned as a child, as well as his ex-wife. (The scene where he sneaks out of her house as everyone screams at each other is a riot.) He gets to know his little grandson, bonding with him as he never did the boy's father. Sully, who in his own way has been taking care of a lot of people in town - and driving some other ones crazy - learns the importance of a family connection and what it entails.

A marvelous script, a marvelous cast, great direction by Robert Benton - "Nobody's Fool" is a small movie with a big message about life. Newman portrays Sully with all of his complexities. He's more a son to Beryl than her own son. He takes care of his workmate Grub (Pruitt Taylor Vance) as he never did his own son. He is there for Toby as she talks about Carl's infidelities, but he was never there for his own wife. What's most wonderful about the script is how character-driven it is and how all its messages come out of the characters. The audience is not beaten over the head with them. When Sully speaks bitterly about his late father, he turns to Peter and says, "That's what you'll say about me when I'm gone." "You were gone, dad," Peter says. "I've already said it." Yet the two men try, without ever verbalizing that they are trying. He's there for Tandy, without a sentimental scene.

Tandy is excellent as a woman who fears the loss of her independence, and fans of Nip/Tuck will get a kick out of seeing Dylan Walsh as he was 14 years ago with his mop of hair. He does very well in his role. Bruce Willis is amazing - relaxed, funny, cheating with a smile. Philip Seymour Hoffman, before stardom hit, has a hilarious role as a policeman trying to nail Sully and not having much luck.

You can't really call what Newman does acting because you won't catch him doing it - he just IS Sully. He creates an unforgettable character in this must-see film.

As he got older, Newman's talent displayed itself more and more easily. In this film, it's as if he puts on the role like a comfortable set of old clothes that fits him perfectly. His acting doesn't show - by which I mean, he becomes the character rather than acting it out in an obvious way. When you insert that smooth display into a well-written story that includes several other, excellent performances, you get a top-notch result. None of the directing or acting is lacking, nor does it ever feel forced or overdone. There's humor as well as sadness, small victories along with disappointments, and touching sentiment along with strength and honor. All in all, it's slice of life theatre done very well.

Newman is acting just perfectly in this small town movie in his role as a 60 years old man who has not achieved much in his life, but begins to realize this when his son, whom he hasn't seen since he left his family, shows up with his kids, Newman's grandsons. The complicated (or maybe not so complicated) married life of Willis and Griffith add to the plot. Some quite witty scenes and lines make you laugh heartily, although the film's general tone is more on the serious side.

Newman uses a lifetime of acting experience to give a burnished, affecting portrayal of Sully, a dysfunctional father and husband who is basically well-intentioned but has never been able to connect with anyone or live up to his responsibilities. His family arrives back in town and he begins the long-delayed process of reconnecting with his son and grandsons.

Like "Mr. & Mrs. Bridge" of a few years back, this is a low-key, slice-of-life drama, a type of film that can be deadly dull in the wrong hands but which in this case, under director Robert Benton's guidance, and aided by a fabulous script and wonderful cast, is totally engrossing.

The script is spare and lean and all the more effective for that. It never goes for heavy emotional effects, but makes its points in a powerfully understated way. The many moments of humor stand out in high relief. Excellent acting all around (this was one of Jessica Tandy's last films; also in the cast are Bruce Willis, a better actor than he is generally given credit for, and Melanie Griffith). The feeling of life in a down-at-the-heels northeast U.S. town in midwinter is superbly brought across; the movie has a real 'lived-in' atmosphere.

A definite A+.

Paul Newman's (Oscar-nominated) amazing performance as a small-town man who tries to bring his somewhat meaningless life together is a real triumph in this fine motion picture from director Robert Benton. Newman is exploited throughout by boss Bruce Willis, but takes it all in stride as he flirts with Willis' beautiful wife (Melanie Griffith). When son Dylan Walsh and his family moves back to town, Newman must finally come to terms with his family and take responsibilities that he has ignored for the duration of his life. Jessica Tandy shines in her swan song. A really great homage to Newman, one of Hollywood's very best from any era. 4.5 out of 5 stars.