Field of Dreams

John Chard

Capra meets Serling for 1980's joyously multi genre hankie wetter. Coming back to Field Of Dreams over 20 years after its release finds this particular viewer beaming with happiness that the warmth I felt way back when still washes over me in the same way. Director Phil Alden Robinson (All of Me/Fletch) manages to turn W.P. Kinsella's novel, Shoeless Joe, into a multi genre film with deep emotional heart for both sexes to latch on to. It has a beautiful mix of mythology and family values that come together to realise a dream that ultimately rewards those viewers who are prepared to open themselves up to pure fantasy with a deep emotional core. It was nominated for best picture in 1989 because it struck a cord with so many people, it's not just the thematic heart of the film that delivers, it's also the actors on show who perfectly realise this delightful tale. Kevin Costner is surrounded by great workers in Ray Liotta, James Earl Jones, Amy Madigan and Burt Lancaster, and he wisely lets these actors dominate the scenes that he shares with them, it's something that is an often forgotten good point of Costner's performances; that he is comfortable to let his co-stars dominate important narrative snatches. However, he is the glue that binds the whole film together, it's quite a naturally engaging performance that rightly gave him the star status he would achieve post release of the film. As a born and bred Englishman I don't profess to appreciate just how much a way of life Baseball is to Americans, but I do have my own sports in England that I'm happy to dream the dream with in equal measure, and with that I understand all the themes in Field Of Dreams big time. Most of all, though, I can involve myself with its family values, the dream of dreams, and because it's undeniably pure escapist cinema for those who aren't afraid to let their respective guards down for a wee short while, the rewards are many. With a lush James Horner score evocatively layered over the top of it and John Lindley's photography almost ethereal at times, production is suitably in the fantasy realm. Never twee or over sweet, Field of Dreams is a magical movie in more ways than one. A film that manages to have its cake and eat it and then closes down with one of the most beautiful endings of the 80's. Field of Dreams, still hitting Home Runs after all these years. 9/10

Wuchak

_**Entertaining enough, but hampered by its fanciful premise**_ A family moves to an Iowa farm where the husband (Kevin Costner) hears a voice instructing him to guild a baseball diamond in the cornfield, promising “he” will come. Incredibly, “Shoeless” Joe Jackson (Ray Liotta) shows up, along with seven other members of the 1919 Chicago White Sox who were banned from the game for throwing the World Series. Ray then pursues a reclusive author (James Earl Jones) to assist him with his fantastical situation. I know respectable people who cite “Field of Dreams” (1989) as their favorite movie and it does have some magic, along with some welcome humor and a fun road movie section, but it’s burdened by the thoroughly unreal set-up, which likely would appeal to hardcore baseball fans. Still, I appreciate the message on spiritual guidance, dreams and the insouciant diligence to act on them. The film runs 1 hour, 46 minutes, and was shot in Iowa (Dyersville, Farley & Dubuque), Illinois (Galena), and Boston, Massachusetts. GRADE: B-/C+

Peter McGinn

Field of Dreams is yet another movie that I originally watched a hundred years ago and recently had the chance to watch again. In my mind it was a fairly realistic story tinged with the large fantasy built into the plot involving what happens at the ball field. But that recollection was faulty; this movie is pure fantasy. That is not a criticism; I was just surprised I remembered it wrong that way. It is an entertaining movie that effectively plays upon the heartstrings. Not just with the plot involving Kinsella’s father and their fractured relationship; and with Shoeless Joe Jackson, who is perceived as a victim for accepting money for the plot that caused the Black Sox scandal and got him banished from the game, even though he didn’t follow through by purposely playing poorly. What he should have done was try to talk his teammates out of it. And in a way, the presentation of pro baseball itself is a bit of a fantasy. It was obviously less mercenary a sport than it is today, but owners ruled with an iron fist, paid the players as little as possible, and traded them to other teams at will. All we see in this film is a magical fairlyland where man/children fulfill their dreams on the ball fields. I had a little trouble suspending my disbelief at the outset. Not sure why his wife after a bit of teasing swallowed his story so easily. Her support was critical, obviously, for him to continue his plan to plow his cornfield under and build a ball park. Once we accept that unlikely support, however, the rest of the fantasy elements fall into place nicely. But it is entertaining, as I said above, and harmless fun. I am glad I watched it again, though it won’t make any list of favorite movies for me.

Filipe Manuel Neto

**A good movie to watch with the family.** In this film, a man who has just moved to a small country house, in order to have a quieter life, begins to be disturbed by a mysterious voice that invites him to build a baseball field on a large part of his land. cultivation. That's a bad idea, because he depends on the sale of production to pay off a bank loan taken out to buy the house. However, he decides to believe his instinct. Immediately, he begins to receive visits from former players who are now dead and who, while still alive, had been removed from the competition following harsh accusations of sporting misconduct. No, the film is not a horror film and, although the souls of the other world are very present, it is one of those delicious films to watch with the family. Here, the spiritual entities are, in fact, the nicest and kindest there can be. The script is quite good and hides a very pertinent message about the importance of family, following dreams and maintaining a good relationship with our family members. Kevin Costner plays a sympathetic role that easily captivates our affection, acting very lightly in one of the most interesting cinematographic works of his life as an actor (up to the present moment). He acts with a small group of good actors, all of them committed and leaving a very positive note: Ray Liotta deserves a special mention for the way he resurrected the now dead “Shoeless Joe Jackson”, but I also really liked James Earl Jones, in a more grumpy character. Amy Madigan does what she can, but her character is downright sidelined, while Burt Lancaster makes an honorable but brief appearance. The film has excellent cinematography, is very colorful, is very well shot and is very light, with touches of nostalgic ambience throughout. The pace is even, and the scenes are very well inserted, so the film does not waste unnecessary time and is effective in presenting its story. The soundtrack helps a lot to build the whole atmosphere and, overall, it's another one of those discreet, quality films that is worth resurrecting for the present day.

"Field of Dreams" is a determined effort to encourage us all to dream of the past and to rediscover, relive and cherish the special memories from our childhood once more when the world still held a wealth of mysterious wonder and fascination for the inquisitive mind before the innocence of that time was slowly replaced by the unwelcome responsibilities of adulthood - and in some more unfortunate cases this was also accompanied by a jaded and cynical disillusionment which is hardly surprising. After all, the entire world is inundated by youthful dreams and aspirations many of which are destined to remain unfulfilled due to circumstances beyond anyone's control and this film understands that painful reality and therein lies its magical power. The theme of baseball is also well used to illustrate the ultimate intentions of this film and even though the importance of that beloved sport in the majority of American lives is largely wasted on people living in the rest of the world the universal sentiment it represents is gloriously easy to grasp.

CinemaSerf

“Ray” (Kevin Costner) buys a farm with his wife “Annie” (Amy Madigan) and their daughter “Karin” (Gaby Hoffmann) and is just about making a going concern of growing corn. Amidst his crop one afternoon, he hears a voice. Nobody else heard it and so he disregards it. It’s a persistent instruction, though, telling him to uproot his livelihood and build a baseball diamond - complete with floodlights and rudimentary seats. Who on earth for? Well that turns out to be the thrust of this gentle fantasy as we go back fifty years to a team, led by the legendary “Shoeless Joe” (Ray Liotta) who were embroiled in a sporting scandal. Sceptical at first, his wife quickly comes round to the idea and once it is built all three of them espy a lone man standing on the pitch. Who is he and what does he want? Well to answer that, "Ray” is going to have to follow yet more voices that take him to meet reclusive and retired writer “Terry” (James Earl Jones) and then “Doc. Moonlight” (Burt Lancaster) who might be able to help solve this riddle and possibly provide some reconciliation for all concerned. All the while, they are swiftly running out of money and his brother-in-law is threatening foreclosure and the restoration of the cornfields. Can they get to the truth in time? This is a charming story of family that has a lovely 1920s look to parts of it and that allows both Costner and JEJ to offer us nuanced performances as, together with Lancaster, we appreciate the importance of having a dream and maybe even trying to live it. Madigan provides the kind of unequivocal support that demonstrates the strength and affection of their marriage and though he really features but sparingly, Ray Liotta brings something understatedly magical to his scenes. It’s a bit like a cinematic jigsaw puzzle with each character having a role, and a piece of the plot, but none of those really reveal the conclusion until we get to it - and that works sensitively and quite joyously well.