AniInterview Sorry, this movie sucks

GetPapa Far from Perfect, Far from Terrible

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Cristal The movie really just wants to entertain people.

smatysia This film is quite dated, but that's okay. No mention of steroids, in a pre-Ben Johnson track and field world. Well, I guess that's not quite true, as one coach did mention things that could inadvertently show up on a test. But that was it. And I remember how things were in the late Seventies, with casual dope-smoking everywhere, and no one really cared much one way or another. The big deal at the time, was the relationship between the two main characters. That would be celebrated today, and the weed-smoking utterly condemned. Patrice Donnelly did very well to not be a professional actress at the time. Mariel Hemingway did very well also, showing her character as naive and almost child-like. There were a few nude scenes, that may have been titillating, but did not seem at all gratuitous. (I recall that Miss Hemingway got a huge boob job for her very next role in Star 80) Overall, I still liked this film.

illogic66 This is a beautiful and understated film about people trying to get the best out of the interaction of their personal lives with their sports performance. This is a very realistic, documentary-like film, and not everybody wants that from a film. If you want predictable, this isn't it: this film is human. You see these people go through real changes, as logical, illogical, fickle and precarious as life can be. The acting is top-notch, including the real-life athletes in scripted parts. Scott Glenn and Mariel Hemingway do some of their best work here. Patrice Donnelly is one of the most gorgeous women I have ever seen. The relationship depicted between her and Hemingway is complex, intelligent and non-exploitative. Just don't assume it's a 'typical' lesbian relationship-- it's THEIR relationship and has its own progression with which some will identify and some won't. It's definitely a superior alternative to what gay men were presented with around the same time: 'Making Love', which is soap-opera cheesy and ruined poor Harry Hamlin's movie career before it could get much of anywhere (and, to his credit, he is still proud of having done the role). Any lesbian who thinks 'Personal Best' is patronizing, really needs to see 'Making Love'.Few movies make me nostalgic, but 'Personal Best' does, very much so-- I wish I could time-warp back to Eugene in 1976! It's got that 'natural' '70s vibe to it, and it is sometimes heartwarming to see people without cellphones or computers. All around this film makes the athletes larger-than-life and gets under their skin in ways few films have ever done, and I'm not a sports-oriented person, let alone given to watching track-and-field. The shot-put scene at the Olympic trial at the end is one of many marvelously-conceived sequences which literally make me feel like I'm in the action, as the athletes in slo-mo coil into position with the shot, getting eye-to-eye with the camera just before they all spring forth at once in a nice feat of editing.The DVD release of this film is a little confounding because, even though it's widescreen, the image quality is really not much better than a good VHS copy. There is a lot of visual noise, especially obvious on dark backgrounds (like the credits), which was very disappointing to see-- it seems that a DVD release does not guarantee quality, just compatibility. But at least it's available, whereas the VHS is becoming very hard-to-find except on Amazon (can't believe I've never even seen one at Goodwill). I would love to see this film restored to its full magnificence.

mmorgan-7 The best part of this film is you get a look at Eugene, Oregon, the mecca of track and field in the early 1980s. Mariel Hemingway is pretty convincing as a pentathlete. She is tall, very fit and moves with much of the grace of a hurdler. Of note is that most of the others in this film, with the exception of Scott Glenn were actual world-class athletes. Jane Fredrick and Kate Schmidt were top women and Al Feuerbach was a champion shot-putter. Kenny Moore, who plays Hemingway's male love-interest is cast as a water polo player. In reality Moore, who does a very good job finished 4th in the Olympic Marathon, was numerous events, but was cursed with running at the same time as Frank Shorter (has a bit part playing a TV announcer). Moore was also a frequent contributor for Sports Illustrated. This is not a genre-defining movie (if there is a genre of this type), but it is quite watchable and gives one a hint of the life of track athletes in the era before they were allowed to be paid above the table.

Robert J. Maxwell I saw this film in its first release, then again a few nights ago on cable and it affirmed my first impression that this was one of a scant handful of good sports movies. The shots of San Louis Obispo are evocative, for one thing, giving us not just the apricot sand of the dunes but the whoosh of cars on a distant freeway and the chill of the light fog. Mariel Hemingway, never noted for her acting range, becomes noticeably stronger as the movie progresses. The attractions and tensions within the team are neatly delineated in a naturalistic style by director Towne. What seems bothersome to many commentators is the "exploitation" of females through gratuitous nudity and all the rest of that specious argument. Of course there is female nudity and an abundance of finely toned suntanned flesh, often moving around ballistically in slow motion. It is after all a movie about a team of women athletes. And contrary to popular belief there doesn't seem to be a vas deferens between male and female competitors. And we should consult Leni Riefenstal on how to avoid slow motion. Much of the nudity is locker-room casual. (And there is casual male nudity too.) That which has sexual associations seems appropriate in a story of a love affair between team members and contributes to our understanding of how such an affair could develop.The guy, by the way, is no eleventh-hour hero brought in at the last minute to save the heroine from the catastrophe of lesbianism. He's no dashing Rhett Butler. He's simply another figure, not overly bright, and manipulable. He and the heroine don't ride into the sunset together. The complaints about exploitation seem misdirected. This is a film for adults, a story of love, dedication, and competition, nicely written, directed, photographed, scored, and acted. Zealots in the gay community have an abundance of other targets for their anger. It would have been nice to see more of Patrice Donnely in other films, because she was quite good, especially for an ex-athlete.