The Mirror Has Two Faces

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The Mirror Has Two Faces
Original poster
Directed by	Barbra Streisand
Produced by	Barbra Streisand Arnon Milchan
Written by	André Cayatte Gérard Oury Richard LaGravenese (adaptation)
Starring	Barbra Streisand Jeff Bridges Lauren Bacall George Segal Mimi Rogers Pierce Brosnan Leslie Stefanson
Music by	Marvin Hamlisch
Cinematography	Andrzej Bartkowiak Dante Spinotti
Editing by	Monica Anderson Jeff Werner
Distributed by	TriStar Pictures
Release date(s)	United States November 15, 1996 United Kingdom January 10, 1997 Hong Kong April 10, 1997
Running time	126 min.
Language	English
Budget	$42,000,000
Gross revenue	$41,252,428
IMDb profile

The Mirror Has Two Faces is a 1996 American romantic dramedy film produced and directed by Barbra Streisand, who also stars. The screenplay by Richard LaGravenese is based on the 1958 French film Le Miroir à Deux Faces written by André Cayatte and Gérard Oury, which focused on a homely woman who becomes a beauty after plastic surgery, only to cause complications that result in her husband killing the doctor who performed the operation.

The film received widespread criticism for being an ego production by Streisand who, with Marvin Hamlisch, Robert John Lange, and Bryan Adams, also composed the film's theme song, "I Finally Found Someone", and sang it on the soundtrack with Adams.

1 Synopsis
2 Principal cast
3 Critical reception
4 Awards and nominations
5 References
6 External links

[edit] Synopsis

Rose Morgan, a shy, plain, middle-aged English literature professor at Columbia University, shares a home with her vain, overbearing mother Hannah. When her attractive sister Claire starts preparations for her wedding to Alex, Rose begins to feel her loveless life is empty.

Gregory Larkin, a Columbia Mathematics teacher who feels sex complicates matters between men and women, is looking for a relationship based on the intellectual rather than the physical. When he overhears Rose's lecture about chaste love in literature, he becomes intrigued and asks her out, and is impressed by her wit and knowledge. He proposes marriage, with the condition it will be strictly platonic. The prospect of spending the rest of her life as a lonely spinster living with her mother seems far worse than a marriage without sex, so Rose accepts.

Rose's attraction to Gregory grows, and one night she attempts to seduce him, much to his annoyance. When he departs on a lengthy lecture tour, Rose embarks on a crash course in self improvement. She diets, exercises, changes her hairstyle, learns to use makeup, and outfits herself in an updated wardrobe, and when her husband returns, he finds a very different woman waiting for him, and his perception of her begins to alter dramatically.

All the while Rose realizes that everyone, including herself, is behaving differently now towards her improved-self, though not always to her liking. Gregory and Rose finally face that their mutual love has not been hindered by Rose's appearance, but by Gregory's unusual theories on marriage and sex, and finally recognize their deep affection.

[edit] Principal cast

Barbra Streisand ..... Rose Morgan
Jeff Bridges ..... Gregory Larkin
Lauren Bacall ..... Hannah Morgan
George Segal ..... Henry Fine
Mimi Rogers ..... Claire Morgan
Pierce Brosnan ..... Alex
Brenda Vaccaro ..... Doris
Austin Pendleton ..... Barry
Elle Macpherson ..... Candice
Taina Elg ..... Professor
Andrew Parks ..... Waiter
Leslie Stefanson ..... Sara Myers

[edit] Critical reception

In her review in the New York Times, Janet Maslin called the film's first hour "light and amusing" but added, "Then [Barbra Streisand] demolishes her audience's good will with hubris that goes through the roof. Beguiling as she can be in ugly duckling roles, she becomes insufferable as this story's gloating swan . . . The overkill of The Mirror Has Two Faces is partly offset by Ms. Streisand's genuine diva appeal. The camera does love her, even with a gun to its head. And she's able to wring sympathy and humor from the first half of this role. The film also has a big asset in Ms. Bacall . . [who delivers] her lines with trademark tart panache . . . and cuts an elegant and sardonic figure." ^[1]

Roger Ebert of the Chicago Sun-Times said the film "approaches the subject of marriage warily and with wit, like a George Bernard Shaw play . . . it's rare to find a film that deals intelligently with issues of sex and love, instead of just assuming that everyone on the screen and in the audience shares the same popular culture assumptions. It's rare, too, to find such verbal characters in a movie, and listening to them talk is one of the pleasures of The Mirror Has Two Faces . . . this is a moving and challenging movie." ^[2]

In the San Francisco Chronicle, Edward Guthmann described the film as "a silly affirmation fantasy . . . that Streisand . . . uses to prove she's really beautiful, funny and worthy of being loved, gosh darn it . . . hasn't she returned to the theme of Homely Girl Redeemed, and crowned herself the victor, countless times? Look back and you'll see that Streisand's career, from the beginning, was one long battle cry for geeks and wallflowers and Jewish girls with big noses - a series of wish-fulfillment scenarios in which she, the perennial underdog, triumphs by dint of talent, chutzpah and a really great personality . . . in its first half The Mirror is a romantic-comic delight: nicely directed . . . well-acted by a terrific cast and peppered with great one-liners . . . by the second half . . . the movie has disintegrated into a humorless, drawn-out plea for reassurance." ^[3]

Todd McCarthy of Variety called it "a vanity production of the first order. A staggeringly obsessive expression of the importance of appearances, good looks and being adored, Barbra Streisand's third directorial outing is also, incidentally, a very old-fashioned wish-fulfillment romantic comedy that has been directed and performed in the broadest possible manner . . . From the beginning, it is clear that Streisand intends to hit every point squarely on the head and maybe bang it a few extra times for good measure. Every gag, every line and every emotional cue is pitched to the top balcony so no one will miss a thing, and there are quite a few moments of self-examination and discovery where one nearly expects the star to break into song to underline what she is really feeling . . . the subject of the director's uninterrupted gaze. Lit and posed in an old-time movie star way you rarely see anymore, she plays out her career-long is-she-or-isn't-she-beautiful comic psychodrama one more time, with the girlish uncertainties wiped out with the speed of a costume change. If one were to take it all seriously, one would have to point out that there just isn't that much difference in Rose Before and After, that Streisand hasn't allowed herself to look unappealing enough to justify the big change. No matter. The narcissism on display is astonishing to behold, and veteran Barbra watchers will have a field day. Beyond that, pic does deliver a number of laughs, deep-dish luxury on the production side and an engagingly enthusiastic performance from Bridges." ^[4]

Lisa Schwarzbaum of Entertainment Weekly rated the film C- and added, "We know these two people are lonely and afraid of love and deserve our empathy. But they enact their tightly choreographed pas de deux in such a hermetically sealed universe that our emotions can never be engaged. Instead, we are left to muse, "Oy vey, does Streisand know how over-the-top she is?" That's not to say that Mirror is difficult to sit through. The synthetic one-liners that pass for humor and sentiment . . . are struck regularly, like gongs . . . The settings are pretty. The music is slick." ^[5]

In the Washington Post, Rita Kempley called the film "Barbra Streisand's latest folly" and added, "Although meant to be a bubbly romantic comedy, the movie is actually a very public tragedy for Streisand, who still can't quite believe that she's not Michelle Pfeiffer . . . at 54, it's time to get over girlish hang-ups, forget the noble schnoz and thank God that unlike Cher, you're still recognizable." ^[6] In the newspaper's Weekend section, Desson Howe opined, "For Streisand fans, this ugly-duckling parable . . . is going to be the perfect experience. But for those who make crucifix signs with their fingers when her name is mentioned, this is definitely one to miss . . . the running time is hardly helped by a plethora of strategically framed shots of Rose's legs, new hairstyle, luscious lips and misty-blue eyes, after she has undergone a physical makeover. There is comic relief, however, from Lauren Bacall as Hannah, Rose’s egocentric, materialistic mother. Her withering lines . . . counteract some of the ubiquitous narcissism." ^[7]