The most notable thing about The Mirror Has Two Faces, director Barbra Streisand's third effort behind the camera, is its long and strife-filled production history. The actual film that resulted is, at best, decent, and doesn't add anything new or interesting to the romantic comedy genre. In fact, what The Mirror Has Two Faces is in desperate need of is an editor. At over two hours, this film drags on for far too long. There comes a point in any romance when the characters must either be broken apart or brought together once and for all. By delaying that moment for about twenty unnecessary minutes, Streisand risks losing her audience to disinterest.
The basic story line isn't all that complicated. Streisand plays Rose Morgan, a professor at Columbia University who teaches a course in Romantic Literature. Jeff Bridges is Gregory Larkin, a math professor. Neither has a particularly satisfying love life. Frumpy Rose, the proverbial ugly duckling in search of romance, is constantly disappointed by her dates. Gregory, who becomes inept around attractive women, can have all the sex he wants, but craves something deeper - a union of souls that takes sex out of the equation. So, when Rose's sister, Claire (Mimi Rogers), reads a personals ad that Gregory places in the paper, she contrives a meeting between the two. Gregory and Rose strike up a friendship that leads to an unconventional marriage. However, even after the wedding, their relationship remains platonic, and when Rose expresses a desire to have sex, Gregory flees.
Roughly the first hour of The Mirror Has Two Faces is enjoyable. We are introduced to the characters, see them interact, investigate their hopes, dreams, and fantasies, and watch them slowly, tentatively, test their feelings for each other. There are some wonderful discourses on the nature of love that pose intriguing questions, a few of which the film goes on to explore at greater length.
Unfortunately, the second half of the movie isn't as strong. Gregory, who struggles mightily to attain believability early, devolves into a caricature struggling with an implausible problem (he's afraid to have sex with his wife). The film's delightful, romantic mood deflates quickly as Streisand starts to explore issues of insecurity and empowerment. Two dimensional figures like Rose's dream man, Alex (Pierce Brosnan), and her best friend (Brenda Vaccaro) make brief, unsatisfactory appearances to illustrate different aspects of Rose's personality after a makeover gives her self-confidence.
In some ways, The Mirror Has Two Faces treads in similar territory to that which was explored earlier this year by the more successful The Truth about Cats and Dogs. Janeane Garafolo's character there, like Streisand's here, is insecure about her appearance and becomes convinced that because she's unattractive, she can never have a romantic relationship. The principal difference between the two films is one of tone. Cats and Dogs maintains a light-hearted, occasionally goofy air, while The Mirror Has Two Faces combines uneven comedy while pretending to say something serious.
The cast is populated with good actors, which makes the lack of standout performances disappointing. Streisand is by far the best, doing an excellent job of mixing wry humor, pathos, and longing. Rose is the only character we ever really care about. Jeff Bridges plays Gregory a little too broadly. While his mingling of perkiness and naiveté elicits a few laughs, it erodes Gregory's credibility as a living, breathing human being. Lauren Bacall puts enough bite into her performance as Rose's neurotic, unsupportive mother that there are times when she's downright irritating. There are also moments, however, when she's in top form. In fact, Bacall and Streisand combine for one of the film's rare gems - a scene where Rose asks her mother, What did it feel like to be beautiful? Supporting roles are filled by Pierce Brosnan, George Segal, Mimi Rogers, Brenda Vaccaro, and Austin Pendleton.
Streisand's direction is surer here than it was in the overrated The Prince of Tides, but the rambling script (based on a 1958 French film) ultimately lets her down. The Mirror Has Two Faces has a certain charm, but most of the enchantment wears off before the climax. Streisand has a reputation as a perfectionist who will drive people hard to attain the best results possible. (A number of cast and crew, including Dudley Moore and cinematographer Dante Spinotti, left in mid-production, because of creative differences with her.) Nevertheless, if the director truly is satisfied with the final cut, then her idea of perfection differs somewhat from mine. [Berardinelli’s rating: 2.5 stars = 62.5%]
Labels: comedy, drama, romance
IMDb 66/100
RottenTomatoes Averages (critics=58, viewers=76)
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