Heights - The Atlanta Journal-Constitution movie review

'Heights': Lives won't be same once this day is done

By MELINDA ENNIS
The Atlanta Journal-Constitution

Glenn Close soars as a diva of stage and screen in "Heights," a day-in-the-life drama of several moody Manhattanites whose disparate stories eventually merge.

The characters are fascinating to watch, but never fully develop. Nevertheless, it is a refreshing, adult-themed departure from the summer's cartoons and alien frights. This promising feature debut from director Chris Terrio portrays a society willing to settle for a pale, passionless existence rather than confront conflict.

Sony Pictures Classics

'Heights'

The verdict: A day in the life of several moody Manhattanites whose stories fascinate but never fully engage.

Director: Chris Terrio
Starring: Glenn Close, Elizabeth Banks, James Marsden, Jesse Bradford, George Segal
Run time: 93 minutes
Release date: June 17, 2005
Rating: R for language, brief sexuality and nudity.
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But when the commanding presence of Close is absent, so is much of the film's power.

Close rules as Diana, a middle-aged actress residing in modern Manhattan. Her name illuminates city marquees and her face adorns bus posters promoting her role in "Macbeth" (which, following theater tradition, she calls "the Scottish play" because of its notorious jinx).

As a diva reminiscent of Annette Bening in "Being Julia," Diana has an "open" marriage with another thespian. And she has reached a barren plane, seeking re-energizing passion with any man available.

It's interesting that director Terrio and the writer, Amy Fox, who adapted it from her play, contemplated making this drama a comedy. The plot has the flavor of Woody Allen's early Manhattan-themed masterpieces.

Just as Allen did, Terrio captures New York as a resplendent backdrop. Over 24 hours, the seemingly disparate characters enter and eventually interconnect to reach a showdown as the sun rises on a new day.

Diana's daughter, Isabel (Elizabeth Banks), is an aspiring photographer. She tolerates her monotonous portrait studio job to support artistic time to observe life through the detached safety of her camera.

Yet Isabel clings to the job in the same mechanical manner she plans her marriage to live-in fiance Jonathan (James Marsden). Her avoidance strategy is underscored by Jonathan's unsurprising secret, which the audience is quickly on to, even if Isabel isn't.

As with many modern weddings, mother and daughter fight over dress details rather than confront bigger questions of marital suitability. Diana wants a fairy's gown from a past production of "A Midsummer Night's Dream." Isabel's resistance isn't just clashing tastes, but is emblematic of her own romance, a poor imitation of any Shakespearean love affair.

Although never seen, an infamous gay photographer (� la Robert Mapplethorpe) launches the characters on their converging trajectories. His lover, Peter (John Light), has come from London to write a story for Vanity Fair about the artist's impending photo exhibition and the photos' subjects — all ex-lovers of the artist.

When Jonathan gets a call from Peter, the stories merge and the ending becomes obvious.

The characters in "Heights" are intriguing to watch. Some of them, such as a Welshman Isobel meets at her mother's party, make you wish it was their story.

But with the exception of dynamic Diana, you never feel truly engaged with their lives.

Instead, as Diana admonishes a listless theater class in the film, we become "tepid voyeurs." And perhaps that was the point.