More isn't always better, ventures the eponymous heroine. "Sometimes it's just more." Truer words never fell on deafer ears. Sydney Pollack's update of Billy Wilder's fairy-tale-for-grownups is, by virtue of fidelity to its forebear, a well-constructed piece of work, and (major assist to cameraman Giuseppe Rotunno) a gleamingly polished one to boot. Chiefly what it adds of its own, however, is fat and flab. More specifically a rather repulsive and self-destructive slavering over the vaster spaces and richer riches than those sketchily suggested on the Paramount backlot in the mid-Fifties. Harrison Ford is a bit heavy in the Humphrey Bogart part, and Greg Kinnear a bit lightweight and overmatched in the William Holden part. But even more upsetting to the delicate balance is Julia Ormond, parroting Audrey Hepburn's inimitable diction to a creepy degree, though otherwise throwing body and soul into the general push for greater realism. The result is an overintense, overtortured, overpsychologized performance that might look vaguely like "fine acting," but that throat-cuttingly declares a disbelief in fairy tales. A disbelief shared, in extenuation, by the materialists in charge of the production. Dana Ivey in the stock role of the wise and wisecracking secretary does not exactly steal the movie (too bulky for a quick getaway), but she steals whatever small bits of it she appears in. (1995) — Duncan Shepherd
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