BREATHING LESSONS

US, 1994, 95 minutes, Colour.
James Garner, Joanne Woodward, Joyce van Patten, Kathryn Erbe, Eileen Heckart, John Considine, Henry Jones.
Directed by John Erman.

Breathing Lessons is based on a novel by Anne Tyler, the author of The Accidental Tourist.

The action takes place in one day, starting in the bedroom of Ira and Maggie Moran. The film shows the relationship between the two, their relationship with their children, the ever-optimism of the mother as well as her being a busybody, the clashes with her husband, their easy reconciliations, his easygoing nature. They go to a funeral, eccentric to say the least, they encounter a woman at a diner where Maggie has long conversations about her family, they encounter an elderly African American on the road, clash with him and then help him, eventually going to their ex-daughter-in-law to see their grandchild and try to persuade them to come back home with them with a possible reconciliation with their son. After all this emotion and travelling, they go back to their room and end the day.

One commentator said that the performances were all that one could desire. James Garner is at his best, genial, understated, a strong presence in the background. Joanne Woodward is excellent as the interfering grandmother.

The film was directed by John Erman, a long-time director of many quality telemovies like this one.

1. A pleasing and insightful film? Ageing, parents, grandparents? Family relationships and tensions? Marriage commitment despite ups and downs? Insight into American families?

2. The locations, the town, Maryland, the travelling to Pennsylvania? The American highways, the dines, the small towns, the less-than-affluent homes? Authentic atmosphere? The musical score?

3. The title, its significance – for each of the characters, especially Maggie?

4. The structure, beginning and ending in the bedroom, the journey and road genre? For an elderly couple?

5. The focus on Maggie and Ira, getting up in the morning, their taken for granted mannerisms, getting dressed, polishing the shoes, anticipation of the funeral? Daisy and her getting her mother the toast, her mother’s fussing, not being organised? Going to get the car, listening to the radio, thinking it was Fiona, the crash and her leaving? Trying to tell Ira what had happened? The discussions about the route? The clashes, the make-up? Twenty-nine years of marriage? The decision to go to the funeral, the friendship with Serena? Their having sung at her wedding? Ira and his talking with his father, his father’s crankiness about the shop shutting for the day? Ira and the pictures, the frames? The diner, his exasperation at Maggie telling Mabel all about the family? The continued drive, no-one in the church, no coffin, his playing solitaire? Serena and her gushiness? The funeral, the singing of ‘Love is a Many Splendored Thing’ and his refusal? His going to the wake, the salads, his going to the room to avoid the films of the wedding? the waterbed, Maggie following, his remembering everything about their meeting? Their falling on the bed, Serena ousting them? On the road, Maggie’s impatience with the car, saying that he had a broken wheel, her being upset when it was an elderly African American, her going back and explaining? Ira helping with the tyre, its being all right? The old man believing them? The lift, his telling his story about his falling out with his wife of fifty years? The pretzels, the discussions? His son coming, complaining, taking him away? Their going to Fiona’s house, the meeting with Leroy, her not knowing them, her throwing balls with her grandfather? Maggie and the discussions with Fiona, Leroy present, the long explanation about the electrolysis training, the daughter’s pride in the mother, Maggie and her being affirming? The possibility of coming back, her making the secret phone call upstairs, Fiona’s mother and her clashing with Maggie? Their going back, Ira and his being ironic, Fiona wanting to go back in the bus, Leroy wanting to go to meet her father? Arriving home, Jesse being late, his talking to Leroy on the steps, coming in, the truth about the soapbox, Maggie’s lies, Ira's defence of her in making up the story? Jesse leaving? Fiona leaving – but Leroy keeping the baseball glove on the car wheel? Their going to bed – and the hope of seeing their granddaughter again? Insights into character, mannerisms, strengths and weaknesses?

6. Maggie, the detail of her life, ever active, absent-minded, practical and impractical, always trying to do good, an optimistic hope, interpreting everybody well?

7. Ira, laidback, his continued love for Maggie, his not wanting her to interfere, his usually giving way? His being firm with Fiona and Jesse at the end?

8. Jesse, irresponsible, the music, the garage, selling bikes? Not wanting to help? Coming to the dinner, seeing his daughter, their talking, his inability to relate to Fiona, his father’s telling the truth about him, his leaving?

9. Fiona, her love for Jesse, sending him the telegram, pregnant, the marriage? The break-up but yet her love for him? Going away, bringing up Leroy? The electrolysis course and her proud explanation, the sign? The dominance of her mother, cynical attitudes, smoking…? Her wanting to turn back, hoping against hope, believing Maggie’s romantic story? Leaving? Leroy and her being a strong character, playing ball with her grandfather, the trip back, talking with her father, wanting to come again?

10. Daisy, going to college, criticisms of her parents, Maggie upset that she had made a decision that her life was ordinary? Her apologies to her mother?

11. Mabel, the sympathetic server at the diner, comparing notes and hearing the whole story?

12. Serena, the hippie days, eccentric, her story of her marriage to Max, love? Wanting to cremate him? The joyful ceremony? No coffin? The many people at the church, the deacon and his speech, the songs? The visitor and his singing, Ira refusing, Maggie singing ‘Love is a Many Splendored Thing’ and his joining in? The wake, Serena and her moodiness, Maggie being her best friend but ousting them because of their being on her bed?

13. Mr Otis, the slow driving, age, African American, Maggie’s insult, her alarm, not wanting to be racist, returning? Mr Otis’s character, his relationship with his wife, his children and their divorces, his believing well of people?

14. Sam, his relationship with his son, the shop, his criticisms of Maggie, calling her a princess? The cranky old man?

15. An entertaining and satisfying glimpse of ordinary people – and in some depth, with the insights of novelist Anne Tyler?