Deja Vu
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DVD Cover Information
Actor: Glynis Barber, Michael Brandon, Stephen Dillane, Vanessa Redgrave, Victoria FoytBrand: Warner Brothers
DVD: Region Code 1
Audio: English (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language), Unknown
Format: Closed-captioned, Color, DVD, NTSC, Subtitled
Picture Format: 1.85:1
Running Time: 117 minutes
DVD Release Date: 2002-09-03
Audience Rating: PG-13 (Parental Guidance Suggested)
Model: 36772
Studio: Warner Home Video
Product features:
- Dana (Victoria Foyt) and Sean (Stephen Dillane) are strangers, yet they have a strong sense of belonging together. They also have no interest in upending their lives and long-term romances, so they part instead of following their hearts. But love may not be so easily denied.Running Time: 117 min. Format: DVD MOVIE Genre: DRAMA Rating: R Age: 085393677220 UPC: 0853936
Movie Reviews of Deja Vu
Movie Review: We should all be so lucky
Summary: 5 Stars
I love this film and have seen it many times. It has lines in it I've never heard before in any love story, though I've had this wonderful soul-mate experience myself and know the words by heart. It's the language of the soul that's captured here, and I think the characters reflect this soul-mate understanding perfectly, at least in the major love scenes between the lovely Victoria Foyt and the excellent Stephen Dillane. This makes it difficult for me to imagine anyone else in the lead role other than Ms. Foyt.
In fact, the movie would never have come into being without her and she deserves ample credit: she wrote it with her husband, who happens to be the love of her life, and vice versa, if their commentary is to be believed in the special features section... The relationship between Foyt and Jaglom was fated, as she was married to someone else at the time she met him, and consequently they both sacrificed everything to be together - and so far, it's worked out personally and creatively for both of them, including their two young and lovely children. Now what other actress could have stepped in and played her role with more insight, conviction and understanding? Keira Knightley? Hmmm.
What some viewers lament as her constant "whining," I see as a reflection of the type of woman she is: feminine, vulnerable, emotional, and deeply upset and confused by this sudden turn of events with someone from out of the blue just when her conventional life was about to fall into place with her fiance. She's shaken by this and it comes out in her voice. What's happening to her is beyond her understanding at the time.
Speaking as a man, I love Victoria Foyt's maturity, being an older but hardly an old woman, and her classic beauty, and I particularly love her words in her last major love scene with her soul-mate. (I won't spoil the beautiful exchange by revealing it here.) For what I look for in a woman, she has feminine appeal in the way she's in conflict with herself, and she has feminine appeal in her emotionally vulnerability and the way she expresses herself when she surrenders to her lover and decides to give into having a life with him. I like it, I like it, I like it, because she's lived enough to have some depth of feeling, and appreciates it, because it comes later in life, though that's not explicitly stated in the movie. She also knows how to kiss and use her hands to express her emotions, which I love in a woman. I would find it hard to throw a woman of this classic beauty and emotional vulnerabity out of bed should I ever be lucky enough to have this soul-mate experience again.
This romantic "fantasy" is perhaps my favorite movie about fate, destiny and life's unexpected possibilities - ones that keep you hanging onto life and expecting the next great adventure right around the corner, including non-romantic ones. Whether it's a perfect movie or not is a moot point for me because what movie could ever exactly capture the real thing?... that special something so overpowering in its magnetic attraction between two people that they can only say `yes' to it no matter whatever else is happening in their lives. While it can turn lives upside down, and sometimes ends up being only an illusion, it may be the ultimate act of self-discovery that was part of their life's plan from the beginning, and this movie explores this gossamer line between fantasy and reality.
I think the movie may also have another message: that sometimes you have to say 'no' to someone when you painfully realize that person isn't right for you, and only then is there room for the person you were destined to be with.
Summary of Deja Vu
Dana (Victoria Foyt) and Sean (Stephen Dillane) are strangers, yet they have a strong sense of belonging together. They also have no interest in upending their lives and long-term romances, so they part instead of following their hearts. But love may not be so easily denied.So romantic and haunting is Déja Vu's premise, it cries out for a director with more magic than Henry Jaglom can muster. Just before a long-engaged woman (Victoria Foyt, Jaglom's collaborator and second wife) slips into a serviceable marriage with a nice, if rather dull, guy (Michael Brandon), a chance encounter with an older Frenchwoman--a ghost?--derails her. After confiding memories of a dead-ended World War II love affair, the mysterious lady disappears, leaving behind a ruby pin that signifies one should never settle for less than the love of one's life. Drawn into the woman's past, Foyt travels from Paris to the White Cliffs of Dover--the WWII song, promising happy endings, is reprised at every turn--where she discovers the (married) love of her life (Stephen Dillane). Should they ruthlessly follow the dictates of their hearts? Or reject serendipitous passion in favor of familiar, safe lives? The star-crossed couple's dilemma comes into dramatic focus during a house party, when the guests (especially the charismatic Vanessa Redgrave) share tales about defining emotional moments, seized or allowed to pass. Director Jaglom likes to let a movie "happen" during such get-togethers, with family or friends improvising on often intimate themes (e.g., Babyfever's shower, 1994; Eating's birthday celebration, 1990). Such cinéma vérité can pay off in the freshest kinds of insights about the human condition--or it can be like getting cornered at a cocktail party by a pack of garrulous solipsists. Look for some of both in Déja Vu. --Kathleen Murphy
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