Prelude to a Kiss (film)

Prelude to a Kiss is a 1992 American romantic fantasy film directed by Norman René and starring Alec Baldwin, Meg Ryan, and Sydney Walker. It is based on the 1988 play of the same title.

Prelude to a Kiss
Original poster
Directed byNorman René
Produced byNorman René
Craig Lucas
Michael Gruskoff
Michael I. Levy
Written byCraig Lucas
Starring
Music byHoward Shore
CinematographyStefan Czapsky
Edited byStephen A. Rotter
Distributed by20th Century Fox
Release date
  • July 10, 1992 (1992-07-10)
Running time
105 minutes
CountryUnited States
LanguageEnglish
Box office$22,697,691

Plot

Despite her pessimistic outlook on life, Rita Boyle, a liberal, free-spirited, aspiring graphic designer working part-time as a bartender, falls in love with Peter Hoskins, the conservative employee of a Chicago publishing house. At their wedding, they are approached by Julius, a lonely elderly man who requests permission to kiss Rita. When he does, their spirits somehow switch places, leaving Peter with the aged man's soul residing in his newlywed bride, and her soul in his cancer-riddled body. Peter eventually sees beyond the physical and embraces the beautiful soul he loves. Only after convincing both Rita and Julius why they switched (she was afraid of life and wanted to be an old person who had already gone through the fears life would throw at her, he was afraid of dying and wanted to be young again), and how they did not have these fears anymore, are they able to return to their rightful bodies.

Cast

Production

The film's title is derived from the Duke Ellington/Irving Gordon/Irving Mills tune of the same name, which is heard performed by Deborah Harry during the opening credits. The soundtrack also includes the Cole Porter song "Every Time We Say Goodbye" performed by Annie Lennox, "The More I See You" and "I Had the Craziest Dream" by Harry Warren and Mack Gordon, "A Certain Smile" by Sammy Fain and Paul Francis Webster, "The Very Thought of You" by Ray Noble, "Sweet Jane" by the Cowboy Junkies, and "Someone Like You" by Van Morrison. In the beginning, Rita dances to the song "I Touch Myself" by Divinyls.

Reception

Box office

The film grossed $20,006,730 in the US and $2,690,961 internationally for a total worldwide box office of $22,697,691.[1]

Critical response

The film received mixed reviews from critics. Rotten Tomatoes compiled reviews retrospectively to give it a score of 63% based on 24 reviews.[2]

In his review in The New York Times, Vincent Canby said, "The sad news about this movie adaptation is that it functions as a cruel critique of the problems that, for whatever reason, did not seem important in the stage production. This Prelude to a Kiss is not only without charm and wit, but it's also clumsily set forth: many people seeing it may wonder what, in heaven's name, is going on. The opened-up film lumbers like someone on crutches. Against the literal surroundings of Chicago, the North Shore and Jamaica, Peter, Rita and Julius become perfunctory characters, interesting only for the bizarre situation in which they are caught. They lack any convincing particularity or idiosyncrasy. The same dialogue that served well enough on the stage now sounds arch and coy or metaphysically flat."[3]

Roger Ebert of the Chicago Sun-Times said of the film, "[A]lthough it could probably do more with its story, what it does is gentle and moving. The film is fairly hard to categorize, which is one of its strengths. Of the dialogue, I'll say how unusual it is for Hollywood characters to talk longingly and thoughtfully about our search for happiness in this world where most assuredly we will die. Prelude to a Kiss is the kind of movie that can inspire long conversations about the only subject really worth talking about, the meaning of it all. The emotional heart of the movie belongs to the old guy, Walker, a New York stage actor who got his first starring role at 71. He is wonderful here. He begins as a block of human wood, an old man who looks as if he has not one single thing to say, and then he develops eloquently into a person of poetry and longing. He is, in many of his scenes, literally playing a woman in her 20s. How he does it – how he gets away with it – is through not just craft, but heart."[4]

In Rolling Stone, Peter Travers stated, "Craig Lucas's prince of a play has been turned into a toad of a movie. The disappointment is rending, since Lucas and director Norman René made magic onstage. The play challenges us to make an imaginative leap into the wild blue. The film, however much it flails, stays resolutely earthbound."[5]

Owen Gleiberman of Entertainment Weekly graded the film C- and added, "Why is Prelude to a Kiss such a washout? I'm afraid it's because the play itself is a whimsically inept piece of high kitsch – a Twilight Zone for yuppie soft-heads. The characters aren't fleshed out as human beings; they seem like urban types concocted in screenwriting class. And so the ethereality of the premise never takes hold."[6]

In Variety, Todd McCarthy observed, "Thanks to a magnetic cast and intelligent adaptation, Prelude to a Kiss has made a solid transfer from stage to screen. Back in the 1930s or '40s, this sort of sophisticated, literary-oriented treatment of a simple romantic idea would have been the norm. Today's general audiences, however, may be put off by the quick-witted talk and mildly confused by the central device, despite its resemblance to Ghost ... Baldwin and Ryan make such a winning pair. Looking great and playing a normal guy whose optimism has prevailed over his troubled past, Baldwin is a romantic lead both men and women can enjoy watching. Cuter-than-cute, almost too adorable for words, Ryan rambunctiously embodies the life force even when playing a basically aimless young woman, and the film suffers during her prolonged absence in the later stages."[7]

Rita Kempley of The Washington Post said, "Packed with cheap sentiment and puerile romanticism, Prelude to a Kiss oozes sugarcoated comfort as might a drugstore valentine crushed enthusiastically to the recipient's heaving bosom. A faithful adaptation of Craig Lucas's popular play, it proves a feast for love gourmands, especially those with an appetite for body-swapping. The less starry-eyed viewers will remain starved for the comparative profundity of a leaky Love Boat rerun."[8]

Accolades

The film is recognized by American Film Institute in these lists:

References
  1. "Prelude to a Kiss". TheNumbers.com.
  2. https://www.rottentomatoes.com/m/prelude_to_a_kiss/
  3. Vincent Canby (July 10, 1992). "Prelude to a Kiss (1992) Review/Film; A Kiss Turns Into the Unexpected". New York Times.
  4. Roger Ebert. "Review". Chicago Sun-Times.
  5. Rolling Stone review Archived November 15, 2007, at the Wayback Machine
  6. Owen Gleiberman (July 17, 1992). "review". Entertainment Weekly.
  7. Todd McCarthy (July 9, 1992). "Prelude to a Kiss". Variety.
  8. Rita Kempley (July 10, 1992). "Prelude to a Kiss' (PG-13)". Washington Post.
  9. "AFI's 100 Years...100 Passions Nominees" (PDF). Retrieved 2016-08-19.
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