Cast: Adam Sandler, Téa Leoni, Paz Vega, Cloris Leachman, Sarah Steele, Shelbie Bruce, Ian Hyland
Director: James L. Brooks
Producers: James L. Brooks, Julie Ansell, Richard Sakai
Screenplay: James L. Brooks
Cinematography: John Seale
Music: Hans Zimmer
U.S. Distributor: Columbia Pictures
Spanglish is a typical James L. Brooks motion picture - that is to say, it is strong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great." I felt much the same about two of Brooks' previous, much-ballyhooed efforts, As Good as It Gets and Broadcast News. Nevertheless, despite its problems, some of which are inconsequential enough only to be noticed by nitpickers, the overall experience of watching Spanglish is a satisfying one.
The strength of Spanglish lies in the characters, not the plot. In fact, there isn't much of a storyline - it's a lightly dramatic "slice of life" that gives the men, women, and children populating it a chance to interact. There's some comedy, but, for a film starring wacky man Adam Sandler, it's surprisingly low-key. As world-renowned chef John Clasky, Sandler is restrained, perhaps heralding a new era in his career. Lately, he has been moving away from the kinds of films that please his core audience. Coupled with Punch Drunk Love, Spanglish exhibits a new side to Sandler, indicating that he may be following in the footsteps of Jim Carrey, leaving behind crass slapstick for mature roles.
John is trapped between two forces of nature. The first is his wife, Deborah (Téa Leoni), an uptight woman who has become increasingly erratic since being downsized. Stripped of her center, Deborah is stumbling around, groping for something to give her life meaning. Her actions are often destructive, but she is no monster. She causes pain nearly everywhere she turns, but is ignorant of how hurtful she has become - until one act brings her face-to-face with dire consequences. The other woman in John's life is his Mexican housekeeper, Flor (Paz Vega). A quiet, sensitive woman who only works for the Claskys so she can support her daughter, Cristine (Shelbie Bruce), Flor initially tries to remain aloof from the everyday dramas of her employers. Eventually, however, she is sucked in, and the distance of separation diminishes when the Claskys go on vacation and bring Flor and Cristine with them. As the situation between John and Deborah worsens, the chef and his maid find themselves increasingly drawn to one another, even though each is aware of the impossibility of any significant relationship.
Téa Leoni's performance as the increasingly unhinged Deborah is one of the film's highlights. She develops the potentially unsympathetic character in a way that encourages us to understand the woman's plight. We sense the desperation and neediness as she practically steals Cristine from her mother in an attempt to "rescue" her and offer her a chance at artificially "better" circumstances. The struggle that develops between Deborah and Flor for Cristine's heart is particularly poignant when considering how conflicted Flor is about assimilation. She wants her daughter to have the best life possible, but, at the same time, she doesn't want Cristine to forget her roots. Deborah, on the other hand, views diversity as a bad thing.
One of the movie's failings is in depicting how Deborah's natural children, teenager Bernice (Sarah Steele) and pre-teen Georgie (Ian Hyland), react to their mother's unnatural obsession with Cristine. Instead of displaying anger or jealousy, they welcome the girl into their family and treat her like a sister. Bernice has her own self-image problems, but they are never fully realized and a rich, complex relationship between her and Cristine is not allowed to develop. Bernice's lone significant contribution to Spanglish is to show John as the kind, understanding parent and Deborah as unfit.
The relationship between John and Flor is nicely developed. It occurs naturally, building slowly and tentatively, and is punctuated by stolen glances and late-night conversations. The sexual tension and chemistry between these two is powerful, although some may find its culmination anti-climactic. I have problems with the resolution of John and Flor's dance of seduction (although not with its ultimate conclusion, which is inevitable) - it fits the tone of a "take few risks" film and feels artificial. Brooks seems unwilling to cross a line that should be crossed for fear of alienating portions of his audience. Many aspects of Spanglish are tragic; he wants to avoid the entire film being a downer.
Although Sandler, Leoni, and Spanish actress Paz Vega (Sex and Lucia) are given top billing, this is an ensemble effort, and the film's success is as much due to the secondary performers as to the big names. Cloris Leachman is delightful as Deborah's freespirit mother, a woman who starts the film as a drunk and finishes it doling out sage advice. The two girls - Shelbie Bruce and Sarah Steele - show great maturity, exhibiting the poise of accomplished actresses, even though neither has any previous experience.
Since the film is told through Cristine's eyes, elements of the story are left hanging. The most important relationships - John and Flor, Flor and Cristine - unfold completely. The film concludes with a moving scene between mother and daughter that emphasizes the universal fears of all parents (not just immigrants) concerning their children's futures. It is one of Spanglish's strongest moments, and one of many why I recommend this unassuming yet effective motion picture.
© 2004 James Berardinelli