Film Review: Molly (1999)

Elisabeth Shue tried very hard to get prestigious awards with her powerful performance in Leaving Las Vegas but, unlike her partner Nicolas Cage, she didn’t get past nominations. Her next attempt, more in tune with “Oscar”-grabbing formula, was Molly, 1999 science fiction drama directed by John Duigan.

In the film Shue plays Molly McKay, 28-year old woman with the intellectual abilities of 3-year old child. At least, this is what is told to her brother Buck (played by Aaron Eckhart) after he is forced to take care of Molly when the institution where she was held is being closed down. Buck has been visiting his sister only for holidays and now has to deal with all kinds of problems when actually living with her. Molly and her childish antics cost Buck his job and relationship with girlfriend Jennifer Thomas (played by Elaine Hendrix). When Sam (played by Thomas Jane), one of Molly’s friends from institution, tells Buck about experimental procedure that could improve her condition, Buck is initially against it. However, as life with Molly becomes more difficult, Buck changes his mind and brings her to the team of scientists led by Susan Brookes (played by Jill Hennessy). The operation appears to be success and Molly not only gains intellectual abilities of normal people, but actually transforms into genius. However, this also brings changes in Molly’s character that would make another set of difficulties in relationship with her brother.

Connoisseurs of science fiction would easily recognise that inspiration for Dick Christie’s script was Flowers for Algernon, classic novella by Daniel Keyes, adapted in 1968 into Charly, classic film starring Cliff Robertson. Unfortunately, the script adheres to “politically correct” conventions of 1990s Hollywood, and, instead of exploring potentially fascinating concept of child becoming adult overnight, starts moralising about need to accept people who are different and it does so in moralising way, often drowning the audience with cheap sentimentality. Another problem is in film’s very short running time and Molly’s transformation happening too late for its practical effects to be properly explained. What makes this film watchable is John Duigan who made his name with Sirens. Like in that film, Duigan here shows his inclination towards erotica and even makes rather brave move of hinting little traces of incestuous feelings between siblings. Duigan does that despite being constrained by prudish PG-13 rating. Eroticism is fully embraced even by Elisabteh Shue, but she compromises her performance with bits of overacting. Thankfully, her colleagues like Eckhart and Jane do much better job. Molly, which had premise too much like Rain Man, was considered flop even before premiere and is now very obscure film. Those who view it today, however, are likely to appreciate decent direction and number of good acting performances that are enough for this short film to be more than watchable.

RATING: 5/10 (++)

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