Celebrating the cinema of the 1980s while acknowledging the great Dianne Wiest’s birthday with one of my favorite films and performances of the actress’s career. A true treasure from an undervalued director, this one.

INDEPENDENCE DAY (1983)

Written by Alice Hoffman

Directed by Robert Mandel

 

Director Robert Mandel’s feature length debut barely received a release and was thrown to home video rental shelves and quick circulation on HBO. The studio didn’t realize the character-strong gem they had in their palm.With proper marketing, this could have been a “sleeper hit”, finding an audience through positive word-of-mouth. 

Independence Day finds a never-better Kathleen Quinlan as Mary Ann, a single woman in her thirties who  works in her father’s (Josef Summer) small Southwestern diner. Already a talented photographer, Mary Ann wants to attend a prodigious Los Angeles art school. Alone in the romance department, Mary Ann searches for a change in all aspects of her life..

With her mother (a beautiful performance from Frances Sternhagen) in failing health, she stays close to her mom and dad; further feeding her need for the titular independence.

Nearly giving up on finding a good man to share her life, Jack (the great David Keith), enters her life. The man is sweet, kind, and understanding. While a bit aloof, Jack has a boyish charm and an undeniable good heart. Instantly attracted to such a pure soul, Mary Ann is cautiously over-the-moon, as her new beau seems to be the right fit. Happiness is on the horizon, although her struggle to leave is at odds with what the heart desires.

The scenes between Quinlan and Keith are intoxicating and warm, but the film finds a tragic emotional power in the story of Jack’s sister, Nancy (a heartbreaking turn from birthday girl Dianne Wiest). Nancy is a battered wife who struggles with suicidal thoughts; a serious worry that keeps Jack from being able to leave with Mary Ann.

Alice Hoffman’s screenplay is smart and speaks to several layers of independence for women and the decisions made and not made. Through Wiest’s character, the picture examines the negative effects of societal expectations of the “dutiful wife.”

Cliff De Young as Nancy’s abusive husband, Les, is drawn as a bit of a cliché, but the commitment of the actor makes it work. De Young’s performance is brutal and absolutely frightening.

One particular moment, when he throws lit matches at Nancy right in front of her brother (who sits and lets it happen) is rather unlikely. I have always rationalized this moment by imagining how David Keith’s character is in such shock that he doesn’t know what to do.

Even as I write this, I feel the weight of my rationalization.

Overcoming a few flaws, Kathleen Quinlan, David Keith, and especially Dianne Wiest (in an absolutely devastating performance) give this film a gravitas that overcomes any bumps in the dramatic road. When these actors share scenes together, the film is alive and we settle into a very well done character tale and a deceptively breezy little romance. There may be accusations of certain moments hitting the borderline of “schmaltzy”, but the direction and the actors make it all feel quite natural.

Robert Mandel continues to be an undervalued filmmaker. His most known works are certainly the 1985 cult thriller, FX and 1992’s gripping racism drama, School Ties. With each project, Mandel showed skill in getting to the hearts of his characters while presenting them to his audience in realistic and relatable ways. 

With his inaugural voyage behind the camera, Mandel balances the sweet and the serious, crafting his film into something truthful and quietly effective.

Independence Day gets my vote for his finest work.

And Happy Birthday Dianne Wiest!