FOR RICHER OR POORER: Blu-ray reissue (Universal/Bubble Factory, 1997) Mill Creek Entertainment
Bryan Spicer’s For Richer
or Poorer (1997) comes closest to hitting that delightfully wacky bull’s
eye in 1930’s screwball comedy, bringing together some wonderfully inept
characters caught socially unaware in the most unlikely, yet fun-loving and
idiotic of circumstances. Screenwriters, Jana Howington and Steve Lukanic bring
nothing new, or even fresh to this largely predictable 'fish out of water'
scenario about two rejects from the big city finding their soul centered
somewhere in the bucolic back waters of an Amish community. Yeah, English…we get it. The Amish
live by a more Christian-principled mantra, unfettered by the need for material
goods. They measure their good fortune in the friends they number and children,
like-mindedly raised to follow in their footsteps. So, it is saying a great
deal of co-stars, Tim Allen and Kristie Alley that, as the proverbial ‘English’,
they manage to snag us into the sentimental vector of their improbable plot
twists. Despite its evisceration from the critics, personally, I really enjoyed
For Richer or Poorer when I first saw it theatrically. Let us be clear
here. It’s not a great film. But it is, without apologizing for it, a
competently made ‘little charmer’, nimbly directed by Spicer with
precisely the sort of Minnie Pearl-ish joie de vivre to offset the more
superficial trappings of its largely Hollywoodized, high-key glamour.
The pairing of Kirstie Alley and Tim Allen as Brad and
Caroline Sexton – feuding marries on the cusp of a nasty divorce - is inspired.
I have long been a fan of both; Allen, since he was a regular act at The
Comedy Store, and Alley, after I first discovered her as the fiery Virgilia
Hazard on ABC’s mini-series, North and South (1985). Allen can mug with
the best Vaudevillians of yore, deriving little jabs of pleasure from seemingly
the most innocuous of life’s little foibles gingerly exposed. As for Alley, she
is able to emit an innate empathy that draws us closer to her, simply by
entering a room, and seemingly without any effort at all, calling a spade a
spade, yet in a way we can sincerely admirer her for without turning into the
acid bitch in heels. When Allen’s Brad and Alley’s Caroline venomously spar at
the start of For Richer or Poorer, their diatribes spark and crackle.
But when they love – or rather, fall in love with each other all over again –
we believe every careworn nuance in this rediscovery of the many reasons why
they married, and even better, should stay married, even if their fair-weather
colleagues and superficial friends urge them to separate for good.
Far from being a conventional comedy about the woes in
a marriage gone horribly awry, For Richer or Poorer is really an
ensemble piece that introduces us to some fantastic character actors doing what
they do best. Jay O. Sanders and Megan Cavanagh are perfect as Amish marrieds,
Samuel and Lavinia Yoder - outwardly simple folk, devotedly, the antithesis of
the warring Sextons who plan to hoodwink the couple for a few weeks’ hide out
from the IRS for tax evasion. We also
get some stellar support from Michael Lerner (as the Sexton’s loyal attorney,
Phil Kleinmann), Wayne Knight (perennially cast as the heavy…pardon the pun, as
corrupt accountant, Bob Lachman), Larry Miller (at his irascible best as
slightly unhinged IRS Inspector Derek Lester), Miguel A. Nuñez (his more
level-headed counterpart, IRS Field Agent Frank Hall), John Pyper-Ferguson (as
a somewhat gooney young love interest, Henner Lapp), Carrie Preston (his
betrothed, Rebecca Yoder) and finally, Katie Moore (as the delightfully
precocious, Anna, the youngest of the Yoder clan).
After a main title sequence attesting to the
obscenities of wealth, set to the O’Jay’s 1973 classic, For The Love of
Money, For Richer or Poorer wastes no time arriving at the front
offices of Sexton Enterprises, and, more specifically, accountant, Bob
Lachman’s private office. Bob has just been informed by IRS agent, Frank Hall
the Sexton’s are seconds away from being indicted for tax fraud. Bob is
nervous, and for good reason. He has been secretly cooking the accounts for
nearly a decade without Brad’s knowledge. Not that Brad hasn’t been extravagant
in his own right. In fact, he has just purchased a new and fairly pricey
‘massage chair’ complete with manicure options and a gel face mask. Alas, this
expense pales to Bob’s personal expenditures on a private jet and lavish
vacations around the world…all, written off on the company’s cash flow. Bob’s
in deep and he knows it. We cut to New York’s Plaza Hotel where the Sextons are
celebrating ten glorious years of wedlock, or so it would seem, with an
ostentatious spectacle. Half party/half business venture, Brad hopes to
schmooze potential investors, including Judge Joan Northcutt (June Claman) for
financial contributions on his latest real estate development – The Holy Land;
a shamelessly commercial prototype theme park for the religiously bankrupt.
Think Jim and Tammy-Faye Bakker’s Heritage U.S.A. and you are getting warm…very
warm. The Judge, however, is not amused, even less so when Brad’s model of ‘the
burning bush’ accidentally sets her treasured Balenciaga on fire, forcing Brad
to use his glass of as staining red wine to put out the flames.
Caroline is Brad’s partner in crime, making herself
the belle of the ball while taking the time to mingle with her own flock of
ruthlessly cold-hearted, fair-weather friends (Marla Maples, as Cynthia, and
Marla Sucharetza as Stacy). On the surface, Brad and Caroline have everything –
wealth, power and a genuine love for each other. One problem. It’s all a lie.
In fact, Brad’s about to discover just how badly he has misjudged both his
marriage and his lifestyle. Returning to their fashionable penthouse for
another of their presumably on-going, and celebrated war of the roses, Caroline
asks Brad for a divorce. Believing this, just like all the others will blow
over, Brad and Caroline spend another night in separate bedrooms, contemplating
how sad, alone and frustrated each has become in their marriage. The next day,
Brad returns to his office to begin solidifying his plans for The Holy Land. He
is more than a little put off by Bob’s lack of enthusiasm, even more so when
Bob attempts to escape his company as they head into an elevator. At some
point, Bob manages to leave his employer behind to discover the fraud for
himself. Indeed, IRS agents have already put a lean on Brad’s liquid assets. He
cannot even take a few bucks from the instant teller. Believing Caroline’s
vindictiveness to be the cause of this embarrassment, Brad is informed by Bob
that he has cooked the company accounts to the tune of $5 million. And now,
with no recourse, Bob is getting out of town – fast – advising Brad to consider
doing the same.
Meanwhile, across town, Caroline is startled to find
her unlimited line of credit has been permanently cut off. Emerging from the
bank, more harried than worried, Brad is confronted by IRS agents, Derek Lester
and Frank Hall. Derek is a loose cannon, perceiving danger where none exists.
Trigger-happy in the extreme, he shoots Brad’s cell phone from his fingertips
before pursuing him on a foot chase through lower Manhattan’s financial
district. This concludes when Brad steals the cab of one Malik Ali Farquhar
(Anthony Azizi). Inadvertently stalled at a red light, Brad picks up his first
fare: Caroline, momentarily disgusted to find her millionaire hubby driving a
Yellow Cab. Pursued in a high-speed race through the city’s downtown core, Brad
manages to elude Agents Lester and Hall before heading for the country.
Caroline is incensed, accusing Brad of having no genuine plan to get them out
of their current dilemma, compounding their situation by adding ‘grand theft
auto’ to the long list of indictments. Embroiled in yet another of their famous
fights, Brad narrowly misses hitting a Holstein on the lonely country road,
overcompensating in his swerve, only to drive off the edge of a grassy landing
into a nearby shallow pond.
Enraged by this latest turn of events, Caroline is
forced to concur with her husband. They have nowhere safe to turn. In the
morning, Brad finds his way on foot to the nearby old Amish community of
Intercourse, PA. He uses the telephone at a nearby trading outpost to alert his
attorney, Phil Kleinman for counsel and advice. Told to remain out of sight for
a few days, Brad overhears a conversation between two of the locals about the
pending visit of Jacob and Emma Yoder - cousins from Missouri, the local Yoders
have never met before. Stealing a few clothes and other accoutrements for this
masquerade, Brad convinces Caroline to forego her usual demands for plush
accoutrements and fake being Amish, at least until Phil can come through with
news of their exoneration. Caroline is resentful at first. And the couple’s
initial reaction from Samuel and Lavinia Yoder is one of complete confusion.
After all, Jacob and Emma were not expected for another month.
The Yoders introduce Brad and Caroline to their
extended family, children, and grandpa (David Harscheid) and grandma (Rosemary
Knower). The Yoder’s eldest, Rebecca is smitten with Henner Lapp, presumably an
amiable – if tragically shy – suitor who desires to be wed before the natural
allotment of courtship has taken place. Brad vows to help Henner out in this
regard with the Council of Elders. He also promises Samuel to exercise Jacob’s
formidable horse-training tactics on ‘Big John’ – an enormous and obstinate
Belgian that really puts Brad through the paces while plowing the fields. Meanwhile, Caroline begins to suffer from her
own nervous insecurities. She confides in Brad that the Yoder women know how to
do everything. Brad reminds Caroline how, before she gave up her dreams of
being a fashion designer, she was quite accomplished at a lot of things. Alas,
and before long the couple begins to quarrel yet again. The Yoder farmhouse has
no heat and no indoor plumbing. The walls are paper thin, and Brad and
Caroline’s bitter arguments are overheard by Samuel and Lavinia who are
determined, secretly, to help them restore their marriage.
Life on the farm is devoted to the daily struggles of
hard work and a devotion to God. After Henner proposes to Rebecca, Samuel
elects to purchase an adjacent property from the local Good Guys Realty Ltd. As
Brad inadvertently proves he knows a great deal more about buying, selling and
bartering for property, Samuel encourages him to come along. Meanwhile, Caroline
convinces Rebecca and Lavinia their ordnung should introduce ‘color’ to their
clothing. The women concur. For some time, they have desired as much, their
appeals to the Council of Elders always vetoed. Lavinia now encourages Caroline
to become their spokeswoman on the matter. With her intelligent debate,
Caroline convinces the Elders to at least entertain the idea of a fashion show
to illustrate her designs. Enlisting the women of the community to her cause,
everyone begins sewing to meet the week’s end deadline. In town, Brad is
confronted by the arrogance of Jerry (Ethan Phillips) and Dave (John Caponera);
the ‘English’ owners of Good Guys Realty. Jacking up the price on the property
Henner desires to purchase, Jerry and Dave consider the Amish suckers at best.
Brad asks Samuel and Henner if he may speak in private for just a moment to
Jerry and Dave. But after they have left the room, Brad promptly drops the
charade of being Amish, telling Jerry and Dave to take their price and blow it
out their respective asses.
Exiting the realty offices with a new, and far more
profitable deal for the soon-to-be newlyweds, Samuel and Henner are both highly
impressed by Brad’s negotiating skills. He has managed to save them both a lot
of money. The deed now in Henner’s name, he and Rebecca are free to marry and
begin their lives together. Meanwhile, Agents Lester and Hall continue to tap
Phil Kleinman’s phone for clues as to Brad and Caroline’s whereabouts.
Eventually, they get a lead about the Amish and decide to scour the countryside
with ‘wanted’ ads for the couple’s arrest. Regrettably, these do not offer up
any concrete proof Lester’s hunch is correct. But then, the agents stumble
across the same cow to have caused Brad and Caroline to veer off the road;
their own car landing on the roof of the half-submerged taxi in the nearby
pond. Back at the farm, Caroline and Brad are slightly amused, listening in on
the nightly conjugal activities of the Yoders, who seem to spare not an
evening’s worth enjoying each other. Brad and Caroline recall how they too were
once so very much in love.
At a local barn-raising party, Brad confides in
Caroline. He has changed, and perhaps, for the better. Everything, in fact,
seems different – clearer to him now. Although he still cannot wait to get back
to civilization, Brad realizes he loves his wife. Caroline too has had a
stunning change of heart. Deprived of her cigarettes, fine clothes and makeup
has made her more contrite and respectful of how others live. Moreover, she is
determined to broaden her horizons and learn from Lavinia and her lot how to be
more domestic in her wifely duties. This leads to one of the film’s most
hilarious vignettes - Caroline’s preparation of a beef liver, lung and kidney
casserole, causing Brad to toss his cookies in the outhouse. But now, Caroline
launches into her fashion show for the elders, dubbed Autumn Harvest ’97. One
by one, she parades the women in a flourish of outfits sewn from colorful
fabrics bought in town. The Council of Elders pause for a moment’s thought. But
are they impressed or perturbed? At the last possible moment, Henner (intended
to be Caroline’s male model) backs out of the show (actually, he passes out
from fear), and Brad gallantly takes his place. The council is even more
impressed. Unanimously, they agree to have color introduced to their attire.
We advance to Rebecca and Henner’s outdoor wedding,
idyllically set against a pastoral backdrop. Brad, who previously had
confiscated his and Caroline’s wedding bands (as the Amish do not wear them),
now quietly replaces Caroline’s diamond ring on her finger, and she, the plain
gold band on his, solidifying the vows they took a long time ago. Alas, their
moment’s serenity is shattered when police cars descend on this festive
occasion. Agents Lester and Hall emerge to inquire about ‘the Yoders’. The real Jacob (Stefan Aleksander) and Emma
(Johanna Cox), newly arrived, step forward, forcing Brad and Caroline to
confess to all they have been living a lie. The Amish turn their backs on the
couple, and Brad and Caroline are taken back to New York to face indictment for
tax evasion. The presiding Judge is none other than Joan Northcutt, who plans
to make an example of the couple. Mercifully, Phil Kleinman, who has been
absence for several weeks, suddenly bursts into the courtroom, late to trial, but
with the newly extradited Bob in tow. Explaining the real situation to Judge
Northcutt, the charges against Brad and Caroline are immediately dropped. Phil
presses Brad to join him in a venture capital real estate project even as
Caroline is already being courted by her fair-weather girlfriends to file for
divorce. Instead, Brad and Caroline return to Intercourse, PA and the Yoder
farm to plead their case. Brad apologizes to Samuel and Lavinia. Far from
harboring animosity, Samuel and Lavinia confess they knew all along the couple
were not their natural relatives. As a gesture of goodwill, Brad trades his car
and a pocket watch given to him by his grandfather for Big John and a beat-up
54’ Ford pickup, determined to buy the adjacent property to build their new
dream house. In the end credits, Caroline confesses to Brad she is expecting
their first child. Surprise!
For Richer or Poorer may not be a
side-splitting comedy of errors, but it is a rather charming and genuine one
besides. The keepsake quality of its adult and homespun magic is chiefly
derived from four central performances, or rather, the subtly contrasted
quaintness of Samuel and Lavinia, pitted against the caustic vibrations of Brad
and Caroline. The former’s lasting influence on the latter is at the crux of
Spicer’s storytelling prowess. The perceived antiqueness of the Amish is never
undermined here. They are never considered ‘the lesser’s’ in this tale. Nor are
Brad and Caroline revealed as superficial beyond all hope for eventual
redemption. As example, brought to tears by Lavinia’s kind-hearted words about
the sanctity of marriage and what the love of a good man can mean for a woman,
Caroline’s emotional fragility is deflated as Lavinia jovially suggests what
they both need to do right now to feel better is to go out and beat the rugs. “Oh,”
a tearful Caroline replies with silly enthusiasm, “Could we?!?”
Budgeted at $35 million, and despite abject negativity
from the critics, For Richer or Poorer went on to take in $67.2 million
at the box office. Since its theatrical release, the picture has acquired
something of a cult following. Again, it’s not a blue-ribbon comedy classic.
But it does offer some badly needed ‘feel good’ vibes that continue to
sustain our daydreams for better days ahead while tickling our funny bones in
tandem. As Hollywood’s present age of
comedy seems grotesquely even more vacuous or nonexistent without harboring
some politicized agenda, a simple little comedy like For Richer or Poorer
appears even more rare, and far more than marginally enchanting. There are
plenty of better rom/coms out there, and many worse ones too. But in hindsight,
For Richer or Poorer has weathered the last twenty-four years rather
well. Twenty-four years?!?! Where has the time gone?
I really am at a loss to explain Mill Creek’s place in
home video distribution. At one time, they were considered a viable third-party
distributor, with a questionable track history for releasing quality, but marketing
PD or other product the majors in Hollywood had absolutely zero interest in
releasing for themselves. These days, however, the company appears to be the
straggler, licking up the crumbs, re-issuing product that has already been
kicking around for some time in hi-def – either, on other ‘boutique’ labels or already
peddled as the studio’s own. Universal Home Video released For Richer or
Poorer almost 3 years ago on Blu-ray. Disc specs here appear to be identical
to the Uni effort from 2019 and remain a mixed bag. Universal’s inability to
either poo or get off the pot where their catalog releases are concerned
results in their continued policy of selling old 1080p transfers, some not
given an appropriate polish and/or upgrade since originally being mastered for
DVD! Like the Uni offering, the Mill
Creek release sports similarly wan color reproduction, and an occasionally
harsh and slightly digitized image, with anemic contrast and a light smattering
of grain looking soft and unrefined. Ho-hum. The beat goes on. Just like the
Uni disc, you can advance through Mill Creek’s at 10 min. intervals through arbitrarily
inserted chapter stops. No chapter menu, folks. That would be asking for too
much! But for a movie of such a recent vintage, there is no good excuse Uni
could not have struck a new master from an OCN and do the heavy lifting to
properly balance the color and contrast. Not sure of the cost to actually do a
new to Blu 4K scan, but it needs one. The DTS 5.1 audio is adequate, if
unremarkable, including Randy Edelman’s underscore. There are no extras. Will
give Mill Creek minor props for using the original font for cover art. Uni’s
boasted some generically inserted Photoshop that looked pretty ugly by direct
comparison. Bottom line: recommended, but with caveats. Like the movie, this
1080p transfer is hardly perfect. Good, but not great. It could have been,
though.
FILM RATING (out of 5 - 5 being the
best)
3.5
VIDEO/AUDIO
3
EXTRAS
0
Comments