Music enthusiasts (of albeit lesser known performers) will enjoy short interludes performed by Stephen Bishop, Dave Frishberg and Andrea Marcovicci. While Jaglom is notoriously self indulgent, there is a redeeming honesty and lack of pretentiousness in his artistic motives. He is right, but that can be construed negatively. And some part of you should recognize it the first time you meet the other person’s eyes. ("Last Summer in the Hampton" and "Déjà vu", his finest work to date.) Welles mentions that nobody makes movies like Jaglom. Love should feel like the first time you gallop a horse flat out. The most praiseworthy aspect of Jaglom's career is that he actually managed to emerge from this lengthy self indulgent phase and began making movies with a far wider scope. One finds oneself not really caring too much about their problems in making lasting relationships, the central theme of the movie. The problem is, as always, Jaglom's characters are far less interesting to audiences than they are to him. It's only then that the movie really comes to life. Ramon has met most of his kids, the source revealed. In "Someone to Love" Welles is allotted a couple of minutes of riveting screen time. Back in February, another source told Daily Mail about another major milestone Ramon and Pitt took together: meeting the kids. Jaglom was fortunate enough to count Orson Welles as a personal friend, (he named his son after him). His preferred method is the talking head closeup. As with other works of his, Jaglom tends to use lovers, friends and acquaintances who are then afforded the opportunity to reveal their psychological makeup in thinly disguised characters. While they are somewhat intriguing, they are also annoying. My feeling for Henry Jaglom's movies made in the eighties is most definitely ambivalent.
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