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SUMMER HOURS: MON. - SAT. 10 TO 9, SUN. 11 TO 9
of Woodstock. Written by Pamela
Gray, A Walk on the Moon follows
Pearl Kantrowitz (Diane Lane) as she
struggles with the conflicting desires
of security and freedom.
Pearl's daughter Alison (Anna
Paquin) has reached her contentious
teenage years, and her marriage to the
reliable Marty (Liev Schreiber) has few
thrills. When she meets "the blouse
man" Walker Jerome (Viggo
Mortensen), a traveling salesman and
free spirit, they begin an affair that
forces Pearl to re-examine her past and
make important decisions about her
future.
The Jewish News recently caught up
with Tony Goldwyn and asked him to
share his thoughts on his new movie
and the transition from acting to film-
making.
JN: What had been your impression
of the Jewish Catskills bungalow
experience prior to making A Walk
on the Moon?
TG: I didn't know anything about the
Catskills world. I. grew up in
L.A., and although my grandfather
was Jewish, I didn't really grow up in a
Jewish household. We were nonreli-
gious: he married a Catholic and my
mother was Protestant. It was a mish-
mosh household. So the traditional
Jewish world of Brooklyn and the
Catskills in the 1960s was completely
SHANGRI-LA lip
foreign to me, and I thought it was
fabulous and charming and I couldn't
believe it. Yet it rang so true to me.
JN: Was part of the attraction of the
script seeing the conflict between this
cloistered world and the rapidly
changing outside?
TG: That's it exactly, and it was also
the perfect metaphor for what was
happening inside Pearl. It exactly mir-
rored her situation psychologically.
JN: In making the transition from
acting to directing, how difficult is it
going from being concerned about
your individual performance to being
the person who's ultimately responsi-
ble for the film?
TG: I loved it; it wasn't hard at all. It
was challenging, but it was a very nat-
ural transition for me. I'd worked with
enough first-time directors that I
knew to immediately admit what I •
didn't know and surround myself with
people who are good at what they do
and to rely on them.
JN: What special skills do you
think having been an actor brings
to directing?
TG: There's just an immediate corn-
mon vernacular with the actors and a
sensitivity to the creative process. I
guess the biggest thing is an under-
standing of what it takes to create
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"A Walk On The Moon" — A Review
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412
1999
86 Detroit Jewish News
r ie (248) 544 7373
---V-In1016-1- M k
B
•
A
-
ity poor Pearl Kantrowitz.
It's 1969 — the infamous
Summer of Love — and
she's a bored Jewish house-
frau stuck with her pubescent teenage
daughter, demanding young son, psy-
chic mother-in-law and workaholic
husband in a traditional Catskills
resort just a stone's throw from
Woodstock.
Pearl, played by Diane Lane (The
Cotton Club), swims through the ever
present cigarette smoke of her friends,
the daily mah-jongg and croquet
games, trying to dodge the nagging
suspicion that she's missed out on
something important in life. The
Apollo Mission is on its way to the
moon, and the world is in the middle
of the wild times that we remember as
the '60s.
So, it will come as no surprise that
when the lovely Pearl bumps into the
macho hippie traveling salesman Blouse
Man, Walker Jerome (Viggo Mortensen,
A Pofect Murder), the animal magnet-
ism will be too strong to resist.
The premise of the unfulfilled and
frustrated housewife looking for sexual
liberation is not a new one. And,
indeed, this part of the story proves to
be the least convincing and most pre-
dictable part of the film. Diane Lane
presents a one-dimensional facade,
and Mortensen is never much more
than a blond hunk of meat.
What does shine in A Walk on the
Moon are the background stories and
everyone who plays a co-starring role.
Liev Schreiber brings an intense •
and believable consistency to the role
of Marty Kantrowitz, Pearl's hard-
working, TV repairman husband who
only wants to see his family happy.
Marty has had his dreams squelched
too — by an early marriage to Pearl
when she became pregnant dtiring a
summer fling. But, he comports him-
self with an air of nobility, shlepping
the distance between Manhattan and