Roger Ebert made the colossal blunder of calling this unceremoniously trashed 1989 romantic drama "Spielberg's weakest since '1941'". Spielberg hadn't made HOOK yet. And make no mistake about it, this was unceremoniously trashed (just as A.I. is being unceremoniously trashed). ALWAYS is in essence a reworking (rather than an outright remake) of the 1943 Victor Fleming classic A GUY NAMED JOE. Richard Dreyfuss, Spielberg's favorite Everyman, is the fire-fighting pilot who is great at putting out fires but has this horrible penchant for taking unnecessary chances in the air. Even his best friend (John Goodman) thinks he's overdoing it; and now, his one true love (Holly Hunter) has come down hard on him, basically saying "Enough is enough." Dreyfuss, scared of all this, agrees to change his ways and settle down. But on his last firefighting mission, after having saved Goodman when the engine of Goodman's plane catches fire, Dreyfuss' plane blows up, killing him instantly. In heaven (or a burned-out forest, take your pick), Dreyfuss is met by his guardian angel Hap (Audrey Hepburn, a final fitting performance), who tells him that, yes, he is to go back and to give much inspiration to a future aerial firefighter...but that's only part of it. The problem is, of course, what Hepburn didn't tell him the first time around. Dreyfuss gives inspiration and (often witty and hilarious) guidance to this rookie flyer (Brad Johnson). After a few false starts, including the hideously funny "dump-all-over-Al (Goodman)" sequence, Johnson begins to learn the ropes. But then, Johnson begins to fall in love with Hunter. And it is there that we realize that Dreyfuss can still feel pain, even though he's dead. Hepburn understands his pain, and says that he still has to settle with Hunter. Until he does that, not only won't Hunter be free of her pain, but Dreyfuss won't be free of his. The moment of truth comes in the climax, a terrifying flight by Hunter through the flames of a mountain firestorm in which Dreyfuss has to safely guide her out. The coda is one of the more heartfelt and touching sequences in history. So many complained that this feels like a 1940s film with 1980s/1990s new age mysticism. In a certain way, it does. But ALWAYS worked for me because of its incredible emotional sensitivity. Dreyfuss, Hunter, and Goodman are really great in this film, as is Hepburn in her final role. John Williams' great score is the icing on the cake, and the use of "Smoke Gets In Your Eyes" as the film's love theme is also appropriate. ALWAYS is nowhere near being the bad film Roger Ebert and others made it out to be. Next to A.I., I think it is the most misunderstood film Spielberg has ever made. It's a real touching film, worth seeing again and again.
Always (1989) 1080p YIFY Movie
Always (1989) 1080p
A romantic adventure about a legendary pilot's passion for dare-devil firefighting and his girl.
IMDB: 6.421 Likes
The Synopsis for Always (1989) 1080p
Pete Sandich and buddy Al Yackey are daredevil aerial forest-fire fighters. Pete finds True Love with Dorinda but won't give up the job. When he takes one risk too many, Dorinda faces deep grief and cannot easily put her life back together.
The Director and Players for Always (1989) 1080p
The Reviews for Always (1989) 1080p
Heartfelt and touchingReviewed byvirek213Vote: 10/10
I lost my husband suddenly about 2 years ago. I first watched this movie about 10 years ago and I enjoyed it. Then, I watched it last night again. This time, it was much more personal to me, and I still enjoyed it,only in a different way. The relationship between Holly Hunter and Richard Dreyfuss was portrayed wonderfully. The selfishness he felt when seeing her and Ted together for the first time was so very honest and painful. The pain she feels at moving on with her life, the love and concern John Goodman shows her, the uncertainty of her future and the way she will handle it kept me on the edge of my seat. The emotions were so real and many of them were the same ones I have felt over the past 2 years. The scene where Dorinda dances alone yet with Pete simply sent me to the tissues. When she is putting out that last fire, and is contemplating the rest of her life alone hit home as well. I cried for almost the entire movie this time. The actors portrayed their characters as real as can be, and I truly felt their pain and confusion. I read the book years ago and I feel that this is one of the few times the movie is as good as the book. This time after watching it, I actually was able to find a little peace in my life situation. If you have ever suffered a major loss in your life, I wholeheartedly recommend this movie- even if you haven't, the acting, the script and the movie as a whole gets a 9.0 in my book. Keep a box of kleenex nearby.
It has been a while since I have seen this 'Always.' The years, I should say, have done this film justice. A noted cinephile, I know when to eat my words, and this is one is for the books. Sincere. Honest. Touching. Obviously sparked with a late-eighties, Spielbergian hyper-real, cinematic extensions and flair, these elements do not bog the film downs as, say, with '1941' or 'The Color Purple.' And why should we expect modern filmmakers to be like those of the forties or fifties? Modern filmmakers are just that -- modern. Holly Hunter is a walking dream and she has talent in droves. I have long had a crush on her and her funny mouth. She is simply enchanting and steals the show. Goodman, for once, is kept under control. Dreyfuss, with the thankless role of revisiting his past and commenting on the future, is the weakest link but only just. Sumptuously photographed by deftly edited, this story of unrequited love is as universal as mothers and babies. If it doesn't bring tears to your eyes, shame on you. The best advice to view this film is to forget it is a Spielberg film. Enjoy it for the love story that it is and sink into its voluptuous and charged charm. We should all hope we become angels in the mist, able to return to Earth to right all the wrongs of the world. This may be one Spielberg's most romantic films, next to A.I., which is a supremely magnificent film and, also, equally dismissed when it first arrived on the scene. I urge all to give this film a second chance.