CrissCross

Goldie Hawn tackles a surprising role here, as a mom from the hard side of the tracks, and carries it off with notable success.

The setting is Key West in 1969. In the film, Goldie plays a single mom who's reduced to working in strip clubs after her husband, a former Navy pilot played by Keith Carradine, succumbs to PTSD, descends into drunkennes and eventually goes off to live in a monestary. At first, Goldie just slings drinks at the strip clubs. But in order to fulfill the dream, shared by her and her son, of once again living in a house rather than a run-down hotel, she graduates to bump 'n grind to bring in more money.

The son, played very well by David Arnott, is a 12-year old who is naturally wounded by his father's absence. He also becomes deeply upset when he discovers his mother is stripping. In addition, a new man enters her life, a writer played by Arliss Howard. This generates some resentment from the son.

The son, Chris, has a busy life beyond this. He hangs out with his good friend Buggs and goes out with his sister Termina. He also does many side-jobs to help out with money. One of his jobs involves delivering fish regularly from a ship at sea to the hotel cook. On one of his delivery runs he discovers that the fish are filled with cocaine. Thus begins the true plot of the movie, as Chris devises a scheme to sell drugs in order to save his mother from stripping.

This was the most unfortunate aspect of the film. While the basic concept of the plot wasn't bad, it culminates in a scene that fails to make sense. Since the screenplay was by Scott Sommer, based on his novella, one imagines he had it this way in the source material, but then again it may have been added for cinematic effect and structural closure. Basically, it didn't work.

Aside from this, the movie was well-played and largely enjoyable. The Key West locations are beautiful and sunny. You can almost feel the heat and humidity. Goldie looks great, and she drives a '59 Chrysler Imperial that's pretty cool even though it's seen better days. The overall milieu and characters are believable. David Arnott, in his first and, unfortunately, last role, gives an understated performance that should have launched a successful career. The soundtrack was actually cool enough to include Count Five's 'Psychotic Reaction.'

The pace of the film is slow, even lazy at times. This usually serves the film well but does lead to some leaden areas that shoot the boredom factor way up. There is also a lot of voice-over narration by Arnott. While it's nice to know what's in the character's head, they go overboard with it.

In the end this is a flawed film of small scope. It won't land on your list of classics but, despite its flaws, its earnestness, emotional complexity, good performances and great locations make it a pleasant way to spend a couple hours.

Young boy in the Florida Keys in late 1969 keeps tabs on his exotic dancer mom while mourning their separation from his Vietnam-scarred father. A curious choice for star Goldie Hawn, who must've seen this as an opportunity to stretch a little bit without verging too far from her proved persona; newcomer David Arnott is well-cast as Hawn's son and has an amazingly deep voice, a forthright manner and an easy gait (he's really the star who is born here). The script, which is likably littered with beach bums and hotel-residing characters, isn't particularly pointed, nor does it leave us with much at the end, but Chris Menges' direction pulls every ounce of beauty from it. When Goldie's car breaks down, it's on a concrete bridge overlooking a melancholy stretch of ocean; when Hawn and sports-writer Arliss Howard have a heart-to-heart, it's on the beach during a brilliant red sunset. This great-looking picture is a real beauty, although it is lackadaisically paced, extremely low-keyed and takes a while to expose its heart and reach its audience. *** from ****

This is one of those movies where the user rating seems strangely out of step with the comments on it. With one, barely worth the mention, exception, all those who have commented liked the film. I too found it a very pleasant diversion and a film that I have happily watched several times.

To my way of thinking young David Arnott does a terrific job and is absolutely charming. He plays Chris, a completely innocent kid who gets on the wrong side of the law, when he sees an opportunity to get enough cash to rescue his mother, Goldie Horn, from her new job as a stripper. It is a big ask to take a 12-year old lad with no acting experience to play what amounts to the lead in a movie and to narrate it too. It is also asking a lot for him to have to be filmed briefly in the buff in one scene. If he had a problem or two, it is hardly surprising. Nevertheless, it is his innocent charm which carries the film. There is also a nice chemistry between David Arnott and Goldie Horn.

I sincerely hope that this was not another case of the critics massacring a movie and with it a promising kid's career.

Almost no other motion picture so deftly captures the look, water, grit & sensibility of Key West in 1969. Excellent camera work (Ivan Strasburg), coupled with inspired lighting lend the true taste of America's southernmost island on film. Chris' (David Arnott) despair that his mother (Goldie Hawn) sells her sexiness at a local strip bar, plays counterpoint to his emerging manhood shared with girlfriend, Termina (Christy Martin). The crafty screenwriter (Scott Sommer) use the first rocket to land a man on the moon, as an effective time in which to set the story. It becomes a powerful phallic symbol as the boy growns to manhood. Another terrific use of symbolism is seen when the automobile carrying Chris and his mother across the Seven Mile Bridge breaks-down. The image is a visual metaphore for the of the pair in opposition. The Chris fixes the car represents his growing ability to control the world around him. The scene is also visually stunning. There are plenty of other symbolic touches used in this sweet and somewhat overlooked film.

It's amazing how Goldie Hawn is almost always overlooked when she tries to play it serious, even when she's good. A perfect example of this is 1991's "Crisscross," dealing with the special relationship between a young single mother and her twelve-year old son.

Set in Key West, Florida, just prior to the first moon landing, the film is loaded with atmosphere, and the Key West scenes are beautiful (Amazing how the only film that ever shows how it can be during the hurricane season was the Paul Hogan/Elijah Wood "Flipper." But I digress.). Best of all, though, are Hawn and young David Arnott, as mother and son, both giving understated, believable performances. Young Arnott, especially, should have had a major career ahead of him. As it was, this was his only film role. Does anyone know what became of him?

The supporting actors are good, as well, particularly Arliss Howard as the writer Hawn falls in love with, and the actors, whose names escape me, playing the characters of Emmett, Bugs, and Termina.

This film is a true hidden treasure. Watch it, and you have a real treat in store.