User reviews

Throughout the 80s and 90s, Barbra Streisand has grown in stature (albeit sporadically) as a formidable producer and director of social drama for both films and TV. The apex of her behind-the-camera career came with "The Prince of Tides," a poignant study of a man coping with the long-term effects of childhood trauma. Streisand nurtures this pet project from start to finish (co-adapted by Pat Conroy from his epic novel), finding a precise heartbeat for the profoundly sentient piece. Despite a rather protracted love story and one too many climaxes, Streisand, who also co-stars, never loses sight of the novel's primary intent.

Streisand graciously hands the spotlight over to actor Nick Nolte, who gives the most sensitive, emotionally complex performance of his varied career. Tom Wingo is a walking shell of a man who quells his pain with a drink, an easy smile, a cleverly foul remark, and a bitter, uncontrollable outpouring of anger. A one-time Southern-bred football coach-turned-teacher, he has grown increasingly irresponsible and disconnected over the years. With a troubled marriage hovering over him, he conveniently heads off to New York City at the urging of sister Savannah's psychiatrist, Susan Lowenstein, following his twin's most recent wrist-slashing attempt. His purpose is to fill in the missing details of her tormented past (she has blotted out all childhood memories) in order to help steer the psychiatrist in her recovery process. Eventually, Tom, who lacks faith in psychiatry, finds himself facing his own demons as these initial discussions about Savannah take a suddenly dramatic and romantic turn.

In addition to Nolte's Oscar-nominated showcase, much of the film's strength lies in the highly concentrated flashback sequences as Tom recalls his turbulent family life. Kate Nelligan (also Oscar-nominated) is simply extraordinary as Lila, Tom's brittle, often callous mother, who quite understandably vows to remarry into money after surviving a horrific first marriage to Tom's violent, alcoholic, dirt-poor father (played by an absolutely terrifying Brad Sullivan). Nelligan grabs this role literally by the throat and allows her character no apologies for her flawed, self-serving logic, despite the effects it would have on her children, as her wealthy second husband starts exhibiting the same abusive traits as the first. Kudos must also go to the three strong young actors who play the Wingo siblings as children for reenacting the more horrific elements of this story.

Some of the other present-day roles, however, are hit-and-miss in their effectiveness. Blythe Danner has some strained though affecting moments as Tom's neglected wife. Sadly, the vital role of Savannah is nearly excised from the film. What with the talented Melinda Dillon egregiously reduced to such an insignificant extra, one can only rue the dramatic potential untapped here. As Savannah's neighbor and trusted friend, George Carlin seems to be around merely to show off New York gay chic -- providing mild amusement, a bit of pathos, and little else. On a brighter note, Jason Gould (Barbra's real-life son) acquits himself surprisingly well in the difficult role of Lowenstein's antagonistic son who slowly bonds with Tom's absentee father figure -- showing for once that nepotism isn't necessarily blind or reckless. Dutch actor Jeroen Krabbé gets brief but noticeable exposure as Herbert Woodruff, Lowenstein's charming, smug-elegant husband, a renown concert violinist who demonstrates more affection for his Stradivarius than either his wife or child. There is one telling dinner scene at his opulent Manhattan high-rise in which the out-classed Wingo gets to put Woodruff in his place.

As for Streisand herself, many will invariably take her to task for casting herself in the fundamental role of Susan Lowenstein. A star of such magnitude always faces the daunting task of presenting a fully- realized character, and Streisand is only marginally successful here. Although there is undeniable sexual chemistry between her and Nolte, it's hard to overlook her somewhat glossy approach to the role and the unethical intentions of her character. One can only imagine the ramifications of such a harmful act had her suicidal patient ever uncovered the illicit affair between her brother and psychiatrist.

Director Streisand, however, must be applauded for her explicit attention to exterior details. A visually resplendent picture, great care was taken to get the right look and feel. Notice particularly the lovely allegorical scenes with the children at the beginning and end. And with Streisand's exceptional musicianship, it is hardly surprising that James Newton Howard's lush score is one of the most beautifully designed ever (in fact, I borrowed it for my own commitment ceremony in 1996). It floods the film with an unexpressible tenderness. Nick Nolte's bookend narration is perfect as well -- warm, wise, poetic and reflective.

And so, despite the flaws "The Prince of Tides" may have, Streisand certainly shows that her heart was in the right place.

As Billy Crystal quipped during his Oscar presentation song, "Did this film direct itself?" Barbra Streisand, producer, director, and leading lady in The Prince of Tides was almost completely snubbed at the 1991 Academy Awards. The film was up for Best Picture, Actor, Supporting Actress, Music, Adapted Screenplay, Cinematography, and Art Direction, but she wasn't honored for her beautiful directing. From the opening scene, it's clear a professional with a vision is at the helm. Nick Nolte narrates through a scene of his childhood: he and his siblings run from home while their parents are fighting, jump off the dock into the water, and hold hands in a circle. "We found a silent soothing world where there was no pain. A world without mothers or fathers. We would make a circle bound by flesh and blood and water and only when we felt our lungs betray us would we rise towards the light." Three little heads pop up from the water's surface, and the opening titles start. It's truly beautiful.

There are so many scenes in The Prince of Tides that are moving and memorable, and they greatly outshine the less-than-stellar elements of the film. Nick Nolte plays a family man whose family life isn't particularly stable. He's spent a lifetime burying the secrets of the past, but when his sister, Melinda Dillon, tries to commit suicide, he travels from South Carolina to New York City and meets her therapist, Barbra Streisand. He and Barbra frequently clash, and while he is given very good lines to say, the way he says them is even better than they were written. He's quick to raise his voice, and when he does, it's clear he's releasing decades of pent-up emotion through his throat. Even when he's being a loving father to his three children, you can see the unresolved tension on his face.

You'd think it would be impossible to play against Nick's powerful performance and not give a very good one, but Blythe Danner proves my supposition wrong. She looks very pretty and has an absolutely adorable hairdo, but her acting leaves much to be desired. Then again, when you're watching Nick Nolte-who lost the gold to Anthony Hopkins for sixteen minutes of The Silence of the Lambs-you don't really care about Blythe Danner. Kate Nelligan, who plays Nick's mother, does do a very good job, so if you're a fan, you might want to see her only Oscar-nominated performance.

Normally, I don't really like movies that flash back and forth between the present and the past, but it's only because most directors don't handle the transitions very well. Ms. Streisand masters the difficult task, and every time the film flashes back to Nick's childhood, it's in an inventive, intriguing style. The "dual timeline" narrative is extremely popular nowadays, so if you like that style, you'll be in a great position to appreciate this marvelously crafted film. Before you rent it, though, just know that it's very heavy. You'll probably need to bring your Kleenexes, and you'll feel unsettled more than once. You might not want to watch this with your parents, and you should definitely put the kids to bed before movie night starts. It's extremely heavy.

My one problem with the film is the upsetting scenes involving child actors. I've always maintained that Hollywood should pass a "child labor law" where if a child is under the age of fifteen, they cannot be employed; instead, a computer-generator child actor should be used. I could go on for hours about the damage acting does to children, but I'll refrain. In 1991, computer technology wasn't very advanced, but I still feel the child actors should have been used as infrequently as possible. I recently read Ms. Streisand's memoir, and she insisted the section I'm referring to be included in the final screenplay. There were versions that wouldn't have used the children as much, and I firmly believe the movie would have been as effective if the section were revealed in dialogue with Nick instead of a visual flashback with the child actors. I'm sure there are audience members who disagree, but I just can't watch this movie (I've only seen it once) because I think of the emotional repercussions of the children. Besides that, Ms. Streisand's directing is flawless, and during the Hot Toasty Rag Awards, the board members proudly and unanimously awarded her Best Director.

Kiddy warning: Obviously, you have control over your own children. However, due to upsetting situations involving children and adult material, I wouldn't let my kids watch this movie. Also, there may or may not be a rape scene.

The Prince of Tides is an exceptional movie! It is filled with emotion, humor, adventure, and pathos. Nick Nolte is the heart of the film. He is a broken man, covering up for the past, trying to please his family, but unable to open up and absolve himself of the dysfunction of his past life. He travels to New York to try to help his sister by uncovering what he has been hiding, with the help of a psychiatrist (Barbra Streisand). He is enchanted with her, and is therefore able to open up and reveal the secrets deep within his heart. The emotions that Nick is able to impart to his audience is a joy to see. I learn more about him every time I view this movie. He is a versatile actor and is truly underrated. He DEFINITELY deserved the Oscar for best actor for this difficult role. Barbra Streisand was fantastic as the psychiatrist who had her own secrets, and her son Jason was terrific as the rebellious son who wanted to please his father, but who needed to find himself by taking on the challenge of playing football. I never tire of this movie, and each time I view it, I get more out of it. The "Prince of Tides" has everything I want in a movie, and if I were to rate it, I would give it 4 stars.

This is a great book by Pat Conroy. Typically semi auto biographical and set in the Carolina low country. Having read the book first...as everyone should in any case, I expected the movie to be a little different than the book. I don't have an issue with the story, but the casting just never fit for me. All of the actors are significant in their own right, however I just think they were miscast with the possible exception of Streisand (whose acting is suspect for me in any case). I love Blythe Danner, however, she would have been more suited to Lila, and Kate Nelligan more suited to Sally (although I never would have cast her in that part). I just couldn't buy Nick Nolte as Tom...It just never felt right, so it's a little painful to watch given how much I loved the book.

Middling adaptation of Pat Conroy's bestseller by Conroy and Becky Johnston is ostensibly about a suicidal poetess in New York City (by way of South Carolina) whose psychiatrist contacts her twin brother to order to aid in his sibling's recovery process after she's tried yet again to end her life. However, this troubled writer (played by Melinda Dillon) is stuck away in a hospital bed for much of the movie, leaving the emphasis to fall on Nick Nolte's conflicted family man and director-star Barbra Streisand's well-groomed Dr. Susan Lowenstein, both of whom are in shaky marriages. Their slow-blooming love affair is the part of the story that has obviously attracted Streisand. Yes, she's focused and intense as a filmmaker when covering the youngsters' volatile childhood (including a secret from the past that must be dredged up in order to heal old wounds); but, between Nolte and Streisand swooning over each other, Nolte fighting with his domineering mother (Kate Nelligan, who has remarried into prominence) and his estranged wife (Blythe Danner)--plus Streisand dealing with her own louse of a husband (expert-rotter Jeroen Krabbé)--the film becomes a sea of soapy clichés. Streisand gets a good rhythm going in the scenes between Nolte and Jason Gould (Barbra's real-life son playing her screen son), but she seems to have no inspiration when depicting simple scenes of chit-chat (a lunchbreak moment wherein she and Nolte buy chili from a street vendor is so phony, we can't even be sure either of them has taken a bite). As to the romance, Streisand pours on the candlelight, pretty music, and a flirty football montage. The suicidal sister is "improving", we're told, as the film fades-out, leaving us only with the doctor's heartbreak and the brother's newfound resilience. It's a false front. Seven Oscar nominations, including Best Picture. Streisand received a DGA nomination for her direction but was overlooked by the Academy. Conroy and Johnston received a WGA nomination for their adapted screenplay. **1/2 from ****

I avoided this movie because I did not care to see a romance involving Barbra Streisand and Nick Nolte. When we finally rented the movie, it turned out to be so, so much more. An incredibly intense film. I was never of fan of Nolte, but what a tremendous performance! It moves me to tears every time I watch this film. I am amazed the IMD reviewers give it such a low rating.

Having long ago first been hit by such things as `Hello, Dolly' and `Funny Girl', in the intervening years I seemed to fall into not caring what Ms. Barbra Streisand was doing or undoing. Such that, on first seeing this film some years ago, and now again a few days ago, it is indeed a nice surprise to see that she can do things behind the camera with aplomb, with a little help from her friends, and more or less acceptable things before the camera, with a lot of help from Nick Nolte. Almost certainly the best film I have seen him in - or, at least, of the kind that I consider stomacheable. His playing is just right, and helped out by some really good camera-work, the film is pleasantly comfortable viewing with a story-line carried out with much gallantry.

Perhaps overly long; I feel sure that a few nicely placed cuts would not have been out of place.

Worth seeing with a plate of peanuts, a little red wine, and relax and let the story carry you. Worthwhile viewing which does not require too much cerebral activity, but without falling into the triviality of more recent romanticisms.

I have seen this movie many times and it always holds me. Its rhythm, cinematography and casting is perfect and the story never fails to deliver.

Tom Wingo, played by Nolte in an all-time best for him, has to go to New York to help his twin sister, Savannah Wingo, played by Melinda Dillon who has attempted suicide for the umpteenth time. Tom is aware there are ghosts in the family but wants to keep them submerged. However with the love for his sister and the encouragement of her psychiatrist, Lowenstein, played by Streisand, the truth begins to unfold along with a love between Lowenstein and Tom who are both in unhappy marriages.

There are no easy solutions here to the many issues that are raised, suffice is to say that Streisand, who also directs, keeps a gentle hand in and does not wham home any major emotional points. George Carlin is deft in a minor role, as is Blythe Danner as Tom's wife. The film never fails to pack a punch for me.

9 out of 10. Kudos to all, not a false note.

I guess what drew me to this movie was Nick Nolte narration at the very beginning and end. This is indeed a very touching, sad and all too often true story of life as we struggle to overcome our obstacles, past injustices that many of us face through out life.

I highly recommend this movie, but better seen without commercial interruption.

It is next to impossible to turn a 800 page novel into a consumable movie without losing some of what made the novel brilliant in the first place (which this one is). The novel is about growing up in South Carolina and about the love of three siblings for each other. The novel takes its name from what the sister calls one of the brothers: The Prince Of Tides. But, Luke Wingo, the title character is seldom seen in this mediocre adaptation. Ms. Streisand decided to make it a love story about her character and Lukes brother Tom. She missed the entire point, and screwed up a good story that would have better been left as a mini-series because of its length and depth. (She needs to watch LONESOME DOVE or ROOTS or CENNTENIAL to see that you can make masterpeices on tv, especially if you have a huge text to work from).

However, Nolte is perfectly cast, and plays the part of a downtrodden southern everyman very well. The few childhood flashback scenes that they do film are done very well. Too bad Babs didn't realize this was the meat of the novel. Oh well, at least she didn't sing.

Streisand directed Prince Of Tides in'91, and was not honored by the Oscars with a nomination for Best Director;. fortunately the Directors Guild and Golden Globes did not ignore her, and the film. Beautifully directed, acted, scored and phtographed, it deserved all the praise it has received. Some fans of the book were disappointed because so much was deleted.. true, maybe should have been or will someday be a mini series... but Streisand and Conroy, caught the heart of the book, the dysfunctional family.. and the problems that emerged in future generations; Nolte was excellent as was Kate Nelligan... see it again and again, Brava Babs !!

Any Barbara Streisand film I've seen made any film by George Romero look like any film from Chuck Jones. But, I actually liked this film. The acting was surprisingly good (not by Streisand, but by Nick Nolte as the man with troubles) and there were good dramatic scenes. Not a bad Streisand film (which is saying something big). Biggest incentive (for me), George Carlin appears as Nolte's Gay neighbor and gives one of his best (in a few) performances. A-

I personally really like Barbra Streisand, and I think that this is a very good movie, even if not particularly for her own presence. The story is touchy and involving. The screenplay is well written and never exaggerated or out of track. Even the final cliché of the two main characters falling in love with each other is pretty well portrayed. Probably because it doesn't just happen during the final-five-minute-scene, but is developed enough to make it believable and not ridiculous. The soundtrack, by James Newton Howard, is lovely and really fulfills and underlines the whole movie. Technically, the finest work is done by the cinematography, which is warm and wrapping. The entire cast is good, especially Nick Nolte, who is very believable and delivers a great performance. Barbra Streisand is great behind the camera but only good in front of it. Playing the role of a rich, sophisticated, and independent woman she is kind of playing herself. Indeed, she is at her best when she doesn't have to deliver any line. Unarguably, because her charming presence by itself is enough to fill up the entire screen. She was probably too busy worrying about the way she looked than anything else. This probably wouldn't have happened if someone else were directing her. But then again, in that case we probably wouldn't have enjoyed her sweet and profound point of view.

Tom Wingo (Nick Nolte)'s marriage to Sally (Blythe Danner) is in trouble despite outward appearances. They have 3 daughters. His brother Luke is dead. His poet twin sister Savannah in NYC has attempted suicide once again and is under the care of therapist Susan Lowenstein (Barbara Streisand). He agrees to go see Lowenstein to help Savannah. She hires him to coach football to her angry son Bernard. Her husband Herbert (Jeroen Krabbé) is a philandering concert violinist. Tom's problem stems from his dysfunctional family with his abusive shrimper father Henry, mother Lila (Kate Nelligan), twin Savannah, older brother Luke and one terrible incident.

Nick Nolte is a powerful presence and Barbra Streisand is well-matched. I wouldn't call her directing great. It's solid. This is mostly about the acting. Krabbé is terrific in the dinner party. Jason Gould is limited. It's another instance where nepotism takes away from the cinematic experience. Kate Nelligan is a great actress but I can really sense her southern acting in this one. It's an effective romance melodrama and Nolte gives it his all.

Barbra Streisand's visual presentation of Pat Conroy's novel is excellent! I never expected a film under her direction to be this great and very expressive. Nick Nolte's acting is excellent and I can't think of any actor who can play his role as Tom. For those of you who never seen this film, The Prince of Tides is a drama that tackles family, time and emotions. The film is indeed a great imitation of life!

Kinda awesome. Kinda mushy. Streisand directs and stars in a movie where she helps mend Nolte, who comes from a tragically broken home in the south.

I'm afraid Streisand's overblown ego defeats this film. Taking what is essentially over-ripe Tennessee William's material, this may have had possibilities. But Streisand's character (and especially the director's fawning to her character (no surprise, since she directed it) makes this an ego journey of immense proportions. I don't know how Nolte survived this and how he crafted such a magnificent performance. I don't know how he managed to mutter the film's last lines ("Lowenstein, Lowenstein.") without breaking into laughter. (My guess...liquor and multiple takes.) Streisand as a performer needed someone to fetter her (she can give good performances when restrained.) Streisand the director needed to keep from falling in love with Lowenstein. (She did very well with the opening...except the titles and cast lists interfered with the story.) At the end, the only impression left is an unsubtle argument for Streisand's greatness. An argument that fails to persuade.

This is a poignant movie done with the usual excellence that Barbra Streisand is known for, both in subject matter and acting ability. Nick Nolte manages to convey both the recipient and the facilitator of the healing process with depth and believability. Their chemistry is challenging and enjoyable to watch. Some of the scenes that depict early memories may be dangerous trigger points for people who are still in the healing process, but they are handled with care and a gentle touch. This movie will help you believe that healing can become a reality in your life, if only you are willing to do the work. It helps those that are in pain reach for that place where peace exists. I would recommend this movie to anyone that is in the healing process, as well as to anyone who simply enjoys a well-constructed drama with plenty of humor thrown in for good measure. This movie will make you think, and it will help you heal. An excellent movie - one that I now own in my movie library. See this movie!

As so often happens, Hollywood ruined a ten-star book. If I hadn't read the book 1st, I might have given it a 7. To those who liked the movie, I urge you to read the book!

The movie should have focused solely on the psychological make-up of the Nick Nolte character, Tom, or of his mother. Instead we gets tons of the usual New Yorker vs. Southerner dialogue, a silly romance between Nick and Barbra which serves no purpose, a pointless interaction of Tom with Lowenstein's son. The childhood events of Tom and his family were so intense that the secondary plots were fluff. On top of that, the "yelling" school of acting was sometimes employed. When you can't think of any good dialogue, simple have the actor rant and rave loudly way out of proportion to the issue discussed. Exactly what made Tom lose and gain back interest in his loving family was really important but not really explained.