In a now closed, sadly, theater hidden downtown, I saw a German film entitled Mostly Martha (English title) around Christmas time a few years back. It was the second time, and I saw it again on DVD. The film is one of those that I can see repeatedly -- enjoyable, touching and on some level ... but not on all ... a simple film that doesn't require too much thought. It concerns a workaholic chef who re-examines her priorities after taking in her niece ... the mom killed in a car accident, the dad not around. Comedy, drama, food and a nice lead all added up to a fine film. The food picture, by the way, is a genre in itself.
It is not surprising that someone thought to provide an American version, given the somewhat stupid name No Reservations. They picked a perfect lead, Catherine Zeta-Jones, who does remind one of the German actress (down to their thin frame). She does well here, showing her talent. As the owner, Patricia Clarkson also is a perfect fit, while Aaron Eckhart (who is doing lighter fare, after being known for darker stuff) works fairly well as the Italian (the weakest role in the original, probably ... a sort of scriptural requirement/love interest).
Abigail Breslin (Little Miss Sunshine) is also decent as the daughter, but does come off as less edgy than the original. This suggests part of the problem with the movie, which started basically like the original. The movie appears to take the usual path of expecting American audiences wanting less edge, more spoonfeeding. This is shown in various cases. For instance, I guess, it is okay to take away the whole subplot in the original in which the birth father might get custody (though it hurts the drama ... the father an ideal for the daughter to dream of vs. her aunt), but in this version the aunt cries while reading (with her sister's voice on the soundtrack) the letter asking her to care for her.
In the original, she cries from the obvious stress of the situation ... we don't have be reminded or be given a gimmick. More examples can be added, plus a certain editing of key development time. I noted the father issue. Likewise, in the original -- note the irony -- the niece won't eat, which upsets her chef aunt particularly. She even faints at school, off camera, but we so learn. So, when she does eat, it's a special moment (more reasons than one). In the remake, the fainting isn't mentioned, and the not eating is barely noted ... seems more of a slam on the aunt than depression. There also is a mean act by the owner that makes her character needlessly bitchy.
The watered down flavor is blatantly shown by the use ... but only about half as long ... of the original instrumental. It reflects the wan version of the repeat, down to -- for some reason -- removal of a final amusing bit. Likewise, without the father being an issue, I was waiting for the "conflict moment" ... it comes, but is pretty weak, surely less dramatic than the original when the aunt sees the niece go with the father, and she has a touching speech on how the niece is like her in various ways. Remakes need not be mirror images of originals, even superior ones, but changes should be improvements, or rather, not diminished returns.
The audience as a whole seemed to like the film. I didn't totally dislike it ... as I said, the lead was well played and others did a pretty good job, including an amusing turn by a couple of the staff at the Manhattan restaurant. (I must see what actually is at 22 Bleeker St.) And, for what it is, it is a minor romance with nice moments between the aunt/niece as well. But, I was disappointed ... one knows that you cannot, so to speak, judge the movie by the book, but sometimes the remake leaves a bit too much to be desired.
Now if I had one of those free tickets distributed after I bought mine (this being a preview showing), maybe I might have been a bit more pleased!