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Patsy Cline was the first female solo artist to be elected to the Country Music Hall of Fame. Thirty-two years after her untimely death in a plane crash in Tennessee, her "Greatest Hits" album sold over six million copies. Loved by her fans today as much - if not more - than she was at the height of her fame, the life, the loves and most of all the voice of Patsy Cline is legendary. This film tells the story of the passionate, fun-loving, soft-spoken, loud-living life of one of country music's - and one of popular music's - greatest singing stars. This film covers the years 1956 through 1963, from her rise to fame and the top of the charts through TB talent shows and country bars - through her turbulent marriage to Charlie Dick and the demands of touring which would lead to the fatal plane crash.Written by
HBO Home Video
The Fort Bragg U.S. Army base was actually filmed in Fort Campbell, Kentucky. See more »
In 1957, Patsy is shown listening to Elvis' "Can't Help Falling in Love" on the radio, which wasn't a hit until 1961. See more »
Hey, I want you to get your coat. I want to drive you some place for a drink. I want us to dance awhile, then I want us to get to know each other a lot better.
You want a lot don't you?
Yeah I do baby.
Well people in hell want ice water - that don't mean they get it.
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Walking After Midnight
Written by Don Hecht and Alan Block
Performed by Patsy Cline
Brass and Horns arranged by Bill McElheney
Published by Acuff-Rose-Opryland Music Inc.
Courtesy of MCA Records Inc. See more »
Reality is generally more complicated than any motion picture can possibly convey--and such is the case with SWEET DREAMS, the 1985 bio-pic of singer Patsy Cline, which ran into a firestorm of criticism at the time of its release. For Patsy Cline was not a figure from the remote past. She and her life were extremely well recalled by family, friends, and co-workers, and one and all attacked the film as an extremely inaccurate portrait of her, her husband Charlie, and her life and career.
To a certain extent, the validity of these complaints about the film are a matter of opinion. But it does seem likely that the script softened Cline's harder edges and over-emphasized the stormy nature of her marriage in order to cast her in the role of victim. What isn't opinion is the way the film treats her career: it didn't happen like that, and while the film presents her as a great star at the time of her death in truth she had released only a handful of widely distributed records by 1963--and while some of them were big hits, they weren't quite as big as you might think. Even the celebrated "Sweet Dreams" never made it to the top spot on any music chart, and it was not until well after her death that she received full recognition for her remarkable work.
So instead of truth, or even a good approximation of it, SWEET DREAMS gives us the legend, the folk tale of the rough-and-tumble girl with the big, emotional voice who came from no where, married an abusive husband, and leaped into stardom that was cut short by an untimely death. And as legend, the film works very well.
The weak point of the film is the script, which plays largely to a "domestic drama" aspect and tends to smooth out the characters in a "santized for your protection" sort of way. The direction and cinematography are no great shakes either, and ultimately SWEET DREAMS looks very much like a made-for-television movie. But the cast carries it off in fine style. Jessica Lang looks no more like Patsy Cline than I do, and her lip-scynchs to Cline's work is rather hit-and-miss, but she gives a truly memorable performance; Ed Harris equals her in the role of husband Charlie, and together they create a synergy that has tremendous power. The supporting cast is also quite good, with Ann Wedgeworth a standout in the role of Cline's mother Hilda.
And then there is that soundtrack. Even if you've heard all these songs a thousand times, they're still worth hearing again. Patsy Cline was truly an amazing artist. But the film does something odd with them: the bulk of the story is set during the 1950s, but there is not a 1950s-era Cline vocal to be heard in the entire film, everything is taken from her glory years at MCA between 1960 and 1963. And very often it seemed to me that the original scoring of Cline's songs had been replaced with new arrangements.
And that, ultimately, is rather typical of the film as a whole. Just a little change here, just a little inaccuracy there, and while they all seem slight individually, they add up to a fairly significant distortion collectively. The performances make it worth watching, and they bring it in at a solid four stars. But if you're expecting anything more than the glossy legend of Patsy Cline, you won't find it here.
Gary F. Taylor, aka GFT, Amazon Reviewer
24 of 26 people found this review helpful.
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