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NATION
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ENTERTAINMENT MOVIES

Review


'OUR SOULS AT NIGHT' REUNITES JANE FONDA AND ROBERT REDFORD FOR A WINNING LATE
LIFE LOVE STORY

In "Our Souls at Night," two widowed neighbors develop an unexpected
relationship in their small Colorado town. Starring Robert Redford and Jane
Fonda. Video by Jason H. Neubert.

In "Our Souls at Night," two widowed neighbors develop an unexpected
relationship in their small Colorado town. Starring Robert Redford and Jane
Fonda. Video by Jason H. Neubert.

Kenneth Turan Contact ReporterFilm Critic


Movie business trends come and go, but one subject remains resolutely out of
favor: romantic stories focused on those considered old and in the way.

Which is why it's such a pleasure to see 81-year-old Robert Redford and
79-year-old Jane Fonda playing age-appropriate characters in the charming and
emotionally involving "Our Souls at Night."



Not only might they be the most genuinely old couple since 79-year old Melvyn
Douglas co-starred with Lila Kedrova in Lee Grant's 1980 "Tell Me a Riddle," but
they're also deeply invested in their characters.

Given that Redford and Fonda have costarred with each other three previous
times, starting with "The Chase" half a century ago, this is perhaps not a
surprise, but it's still satisfying to see how deftly these two play off each
other.




Adapted by Scott Neustadter and Michael H. Weber from Kent Haruf's exquisitely
crafted novella, the last thing he wrote before he died in 2014 at the age of
71, "Our Souls" is such an outlier that only Netflix had the temerity to finance
it, meaning its big screen theatrical life will be limited.

This despite having the additional benefit of being directed by Ritesh Batra,
whose wonderful "The Lunchbox" might have won the foreign language Oscar if
India had had the wit to nominate it.

Batra's natural restraint as a director, combined with the integrity of Haruf's
narrative — set, as always, in the fictional town of Holt, Colo. — insures that
"Our Souls" surprises you with its periodic bite and heft.

Some of the novel's moments have been quietly softened for film purposes, but
the essence of the project remains very much the same, as do the characters of
Louis Waters and Addie Moore.

It's Redford's widower Louis we meet first, as the actor, especially effective
in one of his quietest roles, shows us an undemonstrative man, a plaid shirt and
jeans kind of guy, who is not especially happy to hear a knock on his front door
one night.

It is of course Addie, a widow who has lived a block away on Cedar for decades,
and a woman who was good friends with Louis' late wife. She seems nervous, and,
as it turns out, not without reason.

'Our Souls at Night' understands both what changes in people as they age and
what remains the same.


"I want to suggest something to you, a proposal of sorts," she says, Fonda
perfectly nailing the awkwardness. "Would you be interested in coming over and
sleeping with me."

Addie is not, she rushes to assure an astonished Louis, suggesting sex. It's
talk and companionship she is after, a way to get through the ever-longer
nights. "Would that," she asks, "be something of interest to you?"

Louis is, of course, stunned by the suggestion, and asks for time to think it
over. The next day he makes one of his regular stops, a breakfast get-together
with a group of fellow codgers led by the acerbic Dorlan Becker (a spot-on Bruce
Dern), an event that seems so dead-end that Louis calls Addie and says he will
be coming over.

Come over he does, carrying his pajamas and toothbrush in a brown paper bag and
using the back door so as not to excite gossip. There's a wonderful wariness
about both Louis and Addie in this first scene at her house, as they wonder if
this is indeed a good idea.

As one night extends to others, it is a real pleasure to experience this
particular drama unfold. Addie and Louis in essence relive their lives to each
other, talking about traumatic events like deaths and affairs and opening up to
each other to an extent that surprises them both. "You can tell me anything,"
Addie says, and that turns out to be the theme of their increasing closeness.

Once that closeness becomes public knowledge, additional dramas unfold, ranging
from the reaction of the townspeople (who really don't know what's going on) to
that of Louis' daughter Holly (Judy Greer) and, more critically, Addie's
antagonistic son Gene.

Strongly played by Matthias Schoenaerts, convincingly hostile as always, Gene is
having troubles in his own marriage, so much so that he leaves his 7-year-old
son Jamie (Iain Armitage) with grandmother Addie for an extended period,
something which adds yet another twist to her relationship with Louis.

It's a tribute to how dexterously "Our Souls" explores all aspects of this
relationship that some of the film's best moments don't depend on dialogue, like
a silent scene in a pickup truck (so good it’s used in the trailer) scored by
Etta James' knockout version of "A Sunday Kind of Love."

Made with care and conviction as it explores this unexpected relationship, "Our
Souls at Night" understands both what changes in people as they age and what
remains the same.

It covers quite a bit of emotional territory, and it covers it well.

------------

"Our Souls at Night"

No rating

Running time: 1 hour, 43 minutes

Playing: iPic Westwood; iPic Pasadena

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CAPTION

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kenneth.turan@latimes.com

@KennethTuran



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