Cast: Laura Linney, Topher Grace, Gabriel Byrne, Marcia Gay Harden, Paul Rudd
Director: Dylan Kidd
Producers: Anne Chaisson, John Hart, Robert Kessel, Jeff Sharp
Screenplay: Dylan Kidd, based on the novel by Helen Schulman
Cinematography: Joaquín Baca-Asay
Music: Craig Wedren
U.S. Distributor: Newmarket Film Group
It is the fate of most first-time directors to make second features. Often, in case of filmmakers whose debuts created a splash, the follow-up is a disappointment. From that reality comes the term "sophomore slump." Indie wunderkind Dylan Kidd narrowly avoids the pitfalls of the sophomore slump, although his second movie, P.S., doesn't have the same energy as his in-your-face debut, Roger Dodger. P.S. is a pleasant enough motion picture, and its 97 minutes breeze by effortlessly, but few viewers are likely to get the sense that they have seen anything profound or even exceptionally memorable.
I don't think critics are expected to notice breast size (we're supposed to be focused on more lofty concerns...), but, given the way in which Laura Linney's assets are displayed during the course of P.S., it's impossible not to. In all fairness, she gives a compelling performance as well, but I'd like to know if there is a red-blooded male who isn't impressed by the whole package. But I digress...
P.S. is a half-mystery, half-romance about the ethically dubious relationship between Columbia admissions officer Louise Harrington (Linney) and an 18-year old would-be student, F. Scott Feinstadt (Topher Grace). Although Louise's loneliness might be enough to feed the fires of any potential sexual liaison, there's extra fuel here. Scott looks, sounds, and paints like the long dead boyfriend of Louise's teen years, who also bore the name of "Scott Feinstadt." So the question Louise has to address is whether this is all a coincidence or whether something supernatural is going on. Could this Scott be her Scott reincarnated?
The love affair between Louise and Scott works, because the actors sell it. The age difference is not ignored, although the apparent conflict of interests/abuse of power (an admissions officer sexually involved with someone desiring admission) is not addressed, at least not in a meaningful manner. Kidd's dialogue lacks the crisp, ear-catching quality of what he penned for Roger Dodger. Here, it's more laid back and generic. There are three supporting characters. Peter (Gabriel Byrne) is Louise's ex-husband. Missy (Marcia Gay Harden) is a long-time friend. And there's also a brother (Paul Rudd) hanging around. The Rudd and Harden characters could have been excised without hurting the film's content or flow. (In fact, Missy is an annoyance.) It would, however, have been nice to see Byrne's role expanded. Outside of the two leads, his character is the most interesting, and his revelation that he had hundreds of affairs while married to Louise forces her to confront some harsh truths.
The mystical aspect of P.S. is not overplayed; this does not become a supernatural thriller. By wisely keeping his modern-day fairy tale grounded in reality, Kidd allows us to accept these two as human beings. The result is an intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.
© 2004 James Berardinelli