Love Letters Blu-ray Movie

Rating summary

Movie		4.0
Video		3.0
Audio		3.5
Extras		3.0
Overall		3.0

Love Letters Blu-ray Movie Review

Reviewed by Brian Orndorf September 12, 2019

In the early 1980s, actress Jamie Lee Curtis found herself in a difficult career position. She broke through with 1978’s “Halloween,” and continued to collect work in horror, starring in “Prom Night,” “Terror Train,” “The Fog,” and “Halloween II,” becoming a “scream queen” to many, developing her screen presence in a typically permissive genre. For 1983’s “Love Letters,” Curtis elects to step away from maniacal pursuit, testing her dramatic chops with a dark tale of romantic obsession, written and directed by Amy Holden Jones, who was also dealing with reputation issues, having previously helmed “The Slumber Party Massacre.” Curtis visibly works on her dramatic potential in the picture, doing well with Jones’s writing, which imagines a crisis of the heart when a woman in need of magical love finds a partner who denies her everything except pleasures of the flesh. Stalker cinema eventually receives a workout in the third act, but “Love Letters” is a surprisingly effective take on desperation, with Curtis offering a welcomingly reserved take on a nervous breakdown.

Recently losing her mother, Maggie (Bonnie Barlett), Anna (Jamie Lee Curtis) is distraught, unable to communicate with her alcoholic father, Chuck (Matt Clark), who’s revived patterns of abuse as he tries to connect with his estranged daughter. Going through Maggie’s private items, Anna discovers a box of love letters dating back to the 1960s, when Maggie was involved with Joseph, a young man who adored her but couldn’t have her. Anna is floored by the information, lost in romantic feelings as she goes about her business as a public radio DJ, working alongside Danny (Bud Cort). Oliver (James Keach) is a top donor to the station, using his access to get close to Anna, who doesn’t mind the attention. While they embark on a sexual relationship, Oliver makes it clear he’s married with kids, leaving him frequently absent, unable to fill Anna’s emotional needs. As Anna falls deeper into fantasy thanks to the letters, she begins to fixate on Oliver’s aloofness, growing desperate to hold his attention once again.

There’s no sudden hit of awareness in “Love Letters,” with Anna eased into a newfound appreciation of her mother’s romantic experience. She’s gifted a ring by her dying parent, who received it from her lover, and she learns more about the pairing through the discovery of the letters, finding Joseph to be a tender man frustrated by his inability to follow through on his need to be with Maggie. Jones creates a softer atmosphere for the picture, even extending to Anna’s job at the radio station, where she hosts a show celebrating classical music (Danny is the rock and roll guy), keeping an inner peace about her that’s challenged by such life-changing awareness of Maggie’s desires. Early scenes examine Anna’s obsession with the letters, getting lost in their sincerity, reevaluating Chuck’s roughness now that he’s a widower, with his thinly disguised lecherous behavior (perhaps sexual abuse was part of a previous draft of the screenplay) opening his daughter’s eyes to the way things really are, inspiring her to get lost in love.

The paring of Oliver and Anna makes up the core of “Love Letters,” with the rich photographer targeting his favorite radio personality, open about his attraction to her. They connect on a primal level, embarking on a sexual relationship that gives her the physical contact she craves, but intimacy is elusive, with Oliver pulling away whenever Anna questions him about his family life. Jones tries to give Anna some outside perspective, with pal Wendy (Amy Madigan) sharing her disapproval of the coupling, and the DJ has neighbors who deal mostly in romantic hysteria, slipping into violence. And yet, the letters remind her of what could be, working to bend Oliver’s concentration her way, keeping tabs on his wife and children as she grows frustrated with the relationship. “Love Letters” doesn’t become a horror movie, instead heading into mild melodrama, though nothing is too messy, as Jones keeps Anna a searching character, not a menace. Oliver isn’t a kind man or a decent one, but he’s understood, watching as his lust becomes an issue for the pair. It’s still 1983, keeping Anna slightly unhinged and Oliver coolly managerial (working with an 18- year age difference), but Jones doesn’t go for the obvious conflict, keeping them as human as the film will allow.

Love Letters Blu-ray Movie, Video Quality 

Billed as a "Brand new 2K scan of the original 88 min version," "Love Letters" comes to Blu-ray with an AVC encoded image (1.85:1 aspect ratio) presentation. While technical details haven't been included on the packaging, the viewing experience struggles with delineation, losing facial information for key confrontations. Also, mosquito noise issues are present throughout. Detail is acceptable in spots, highlighting period outfits and sheer eveningwear, and facial particulars are noted, including reshoots, with Keach's beard spray-painted gray. A few Californian locations retain dimension, and interiors explore decoration with domestic visits and radio station tours. Colors are maintained, delivering brighter neighborhood visits, and primaries do well with costuming, securing period outfits. Greenery does fine, and skintones are natural. Source is largely free of severe wear and tear, only dealing with mild speckling and scratches.

Love Letters Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix has some age-related issues, offering periodic sibilance issues and hiss throughout. Dialogue exchanges are acceptable, capturing emotional intensity and hushed exchanges of longing. Scoring is satisfactory, with reasonably defined instrumentation, especially for piano- based moods. Atmospherics aren't sharp, but community activity and beach life is present.

Love Letters Blu-ray Movie, Special Features and Extras 

• Interview (10:58, HD) is a brief discussion with James Keach, who jumps around topics concerning the making of "Love Letters." The actor recalls his initial audition for the part and the awkwardness of doing love scenes, especially in front of a leering crew. Roger Corman's influence was felt during the shoot, with the producer's famous frugality coming into play when it came time to provide generators on set. Keach shared his feelings about Curtis, understanding the importance of her role, and Amy Holden Jones, recalling the crew's attitude toward a female filmmaker. Some character perspective is examined, and Keach makes it clear the feature was a success. He also offers a few memories concerning his time on movies such as "Slashed Dreams," "Evil Town," "Stand Alone," and "Cannonball," and explores his eventual move to direction to help maintain control of his career.

• And a Theatrical Trailer (2:10, SD) is included.

Love Letters Blu-ray Movie, Overall Score and Recommendation 

"Love Letters" doesn't always find the most compelling ways to deal with Anna's insecurity, but Jones doesn't destroy her movie either, preserving some dimensionality to the character as she faces her father's nastiness, receives a job opportunity in San Francisco, and absorbs the reality of Maggie's adult pursuits, getting to know her mother in a new way. This isn't a sweet film or a scary one, as Jones successfully creates dramatic evenness to the picture, also pulling fine work from Curtis, who takes the acting challenge seriously, setting out to prove she can do more than look panicked for 90 minutes (1983's "Trading Places" also exposed her comedic side). She's good here, presenting enough vulnerability and emotional deflation to capture Anna's turbulent ride of fantasy as it crashes into reality.