I'll just be honest here --- when I originally saw Always at the cinema in 1989, it was just a few months after my big brother passed away prematurely at the age of forty, and I'm not at all afraid to say that I cried like a baby. Like so many Americans, I have watched far too many films that i have taken to heart, but you know, Always is probably one of the final American films to ever really explore and display such deep human issues as unconditional love, mortality, and what a hero really is -- and isn't. It may be mushy, romantic, and a bit flawed, but I am proud that Spielberg made this bitter-sweet film -- I just saw it again and, if anything, it comes across as even more humane and honest in today's America of aggression, greed, and "relative" truth. If you've ever really, honestly, been so in love and committed to someone that you were willing to unconditionally put their needs before you own, or if you've ever lost anyone who meant the world to you, check it out. It changed my life when I first saw it because it made consider death in a new light... and it is about to totally change my life again as I have decided to live every moment for the rest of it as honest and decent and true to myself as possible --something that few of us today are willing to admit is lacking in our lives.
Always (1989) 720p YIFY Movie
A romantic adventure about a legendary pilot's passion for dare-devil firefighting and his girl.
IMDB: 6.49 Likes
The Synopsis for Always (1989) 720p
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) 720p
The Reviews for Always (1989) 720p
Why I love the film Always...Reviewed bytruthsayer2001Vote: 5/10
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.
Spielberg deserves a fresh look. I open with that because as I read the decidedly mixed thoughts on this and other films of his, I notice the same thought over and over again. People who review Spielberg usually want to pigeonhole him into a type: the ET-warm-and-fuzzy-alien children's storyteller versus the special-effects-heavy-but-rather-empty-plot dreamer. All the while there is the generic whine of 'why doesn't he ever try to do something else (SCHINDLER'S LIST notwithstanding)?' Then when he does, as evidenced here, there are wails of dissatisfaction that he tried to do something over his head. Oy. It's so silly to label and categorize a filmmaker so much. ALWAYS is, first and foremost, a love story. A remake of an earlier film to be sure, but even this 1989 treatment looks and feels nostalgic with its amber-tinted cinematography, the sentimental presentation of the devoted fighter pilots, even Holly Hunter's birthday gift of 'girl clothes' tips a hat to 1940's elegance. And you can't get more nostalgic than the appearance of the ageless, magical Audrey Hepburn (sharp as a tack in her last film as a bright-eyed, no-nonsense angel). All of Hepburn's scenes with Richard Dreyfuss are wonderful (especially the first one when she tries- slightly befuddled- to explain his state of existence), as is the leitmotiv of "Smoke Gets In Your Eyes-" used in two dance sequences with Dreyfuss and Hunter: one at a charming birthday party (watching all the burly firemen clean up is a riot), the other in a bewitching soliloquy of mourning. And once again, John Goodman rises to the occasion as the best friend anyone could ever have. Just saw it on TCM, rounding out a July 2005 tribute to Ms. Hepburn. You should check it out.